The phenomenon of "aesthetic numbness" in 20th century art is not only reflected in ugliness, but also in inhumanity. As early as 1913, G. A polina ire once said, "Firstly, artists are a group of people who want to become inhumane. They are tirelessly pursuing traces of inhumanity." In 1925, OG asset made the diagnosis that the typical characteristic of modern art is " The dehumanization of art. In 1948, when commenting on Cezanne's paintings, M. Merleau Pony pointed out that, It reveals the inhumane natural foundation upon which humans inhabit. T Adorno, in his post death publication "Aesthetic Theory," asserts in his usual dialectical style that "art is only faithful to human nature by appealing to inhumane pursuits The reason why art in the 20th century rejected beauty was to reveal inhumanity, and the reason for revealing inhumanity was to make people more human. Like Xunzi's theory of evil in nature, the purpose is not to promote evil in human nature, but to confront and completely change evil in human nature. Perhaps Danto is concerned that if art is allowed to pursue beauty, it may not be able to achieve its critical or educational function, as people are attracted by the beauty in the work and the joyful emotions caused by beauty, which will weaken the critical power of the work. However, Jiang Heng's art tells us that for the revelation of inhumanity, we do not necessarily have to resort to ugliness through beauty, but can also reveal inhumanity. Jiang Heng's works mostly focus on beautiful women, but all of them have been transformed into inhumane cartoons. The complexity, depth, and permanence of human nature have disappeared from Jiang Heng's cartoon beauties, leaving behind non human characteristics such as superficiality, instantaneity, and fragility. The beauties in Jiang Heng's works are not real life beauties, but beautiful spirits or ghosts.
————Peng Feng
