满而溢出

In one of 'Myth' paintings, the huge stones almost occupy fully the whole surface; in contrast, the figures let down, after intense struggle, as if collapsedly, chikenlike, tiny, impotent, unreconciled and depressed, just like giving up battling with the stones. In this series of heroist mode, particularly as against with the picture surfaces in which the giantlike bodies and energy are expressed, the figures in it even look a sense of funniness – wherein we are certain that irony has been engaged in his paintings, and it can be understood as a self-irony that it is not a floppy laziness, while he indeed does not need to tighten his muscles, not to keep a zealous and single gesture for fighting, as if it seems difficult for everything to continue, and in the paintings when the heroes unpack the stones, the artist seems unpack the dream of heroes, letting alone the huge stones burning and overspreading, surrounding us, pressing us and scorching us, even running over the whole picture. It suffocates us with all these heaviness, hardness, and acuity, as registers our weak life like a paper-cut.

尹朝阳的《神话》系列里有一幅，巨大的石头几乎占满了整个画面，相比之下，画中的人经过了激烈的挣扎，松弛了下来，形将瘫软一般，渺小，无能，心有不甘而黯然神伤，俨然已经放弃了与石头的搏斗，在这个英雄主义调式的系列里，尤其是与其中表现了英雄那巨人般的体魄和能量的画面相对，这幅画中的人甚至显出了一种酸楚的滑稽感——这里，我们确知反讽已经介入了他的绘画，并且，可以理解为一种自我反讽，它并非是纨绔式的慵懒，然而，确实不再绷紧他全身的肌肉，不再保持激昂而单一的斗姿，好像一切都已经难以为继，在画中的英雄卸下了石头的同时，艺术家自己也仿佛卸下了英雄梦，任凭那巨大的石头像烈火般燃烧和蔓延，包围我们，紧紧地挤压、烤炙我们，并且溢出整个画面，它以全部的沉重、坚硬和尖锐使我们窒息，反衬出我们脆薄如剪纸般的生命。

But we don't care about Battlegrounds.

但我们并不在乎沙场中的显露。

Ah! don't mention it, the butcher's shop is a horror.

啊！不用提了。提到肉，真是糟透了。