On the painting art and aesthetic conception of the painter Xie Bingyi
In daily life, the word "mood" is often used. For example, if a poem is good, we say, "The poem is very meaningful." "A painting is good, and we say, "This painting is very interesting." Even after watching a movie and walking out of the cinema, we will hear someone say: "Today's movie is very interesting." "But even though everyone is using this word, many people don't know exactly what the mood is."
Works by painter Xie Bingyi
Artistic conception is an important category of traditional Chinese aesthetic thought, and in traditional painting, it is the artistic realm embodied by the depiction of the work through the situation of time and space, and after the high integration of emotion and scenery.
The theory of mood first appeared in literary creation. In the literary creation of the Three Kingdoms and the Two Jin Dynasties and the Southern and Northern Dynasties, there was the theory of "imagery" and the theory of "realm". The Tang Dynasty poets Wang Changling and Jiaoran put forward the theory of "taking the realm" and "the fate", and Liu Yuxi and the literary and art theorist Sikong Tu further put forward the creative insights of "the elephant outside the elephant" and the "scenery outside the scene".
The concept of artistic conception is applied to painting, mainly in the five generations of landscape painting and the Song and Yuan dynasties, but as early as the Three Kingdoms and two Jin Dynasties, the Southern and Northern Dynasties, under the influence of Taoist thought and metaphysics, landscape painting creation has stepped from the naïve stage of map making to the period of stressing "reality" and emphasizing "sketching", painters began to pay attention to the depiction of the real situation, and put forward the theory of "Cheng Huai Taste Elephant" and "Proud of the Elephant" and the idea of artistic creation aimed at "Chang Shen" and "Pleasant Feeling".
Works by painter Xie Bingyi
This theory and practice is the precursor of the later traditional painting to emphasize the composition of the artistic conception, the Tang Dynasty art historian Zhang Yanyuan put forward the "intention", the five generations of landscape painter Jing Hao put forward the "true scenery" theory, the Song Dynasty painter Guo Xi put forward the problem of "heavy meaning" in the creation of landscape painting, believing that the creation should be "intentional", and the appreciation should be "poor with intention", and for the first time used the concept of "realm" similar to the connotation of "artistic conception". The rise and development of Song and Yuan literati paintings, the artistic concepts and aesthetic ideals of literati painters, especially Su Shi's artistic proposition of advocating the integration of poetry and painting in painting, and the "yiqi" and "morale" theories of Yuan Dynasty painters Ni Zhan and Qian Xuan, made traditional painting shift from focusing on the depiction of objective objects to focusing on the performance of subjective spirits, and promoted the development of artistic theory and practice with the creative tendency of emotional situation and material speech. Qing Dynasty painter and theorist Zheng Chongguang used the concept of "artistic conception" in the book "Painting Basket", and put forward the theories of "real realm", "true realm" and "divine realm" for the creation of landscape painting, made a more in-depth analysis of the meaning and interrelationship between the meaning and the realm in painting, and made a useful exploration of the problems of virtual reality, form and god, and situation in painting, that is, the expression of the artistic conception.
The following specific view of the work of painter Xie Bingyi, will give people a combination of nature and charm of the beauty, guan landscape painting series of works, as if to bring us to a beautiful mountain and river, its majestic and simple, ethereal and free, but also a kind of free galloping, uninhibited spirit portrayal of the painter. His paintings are full of charm, integrating traditional meaning and modern techniques, and in the pursuit of modern transformation of traditional pen and ink language schemas, he highly condenses objects and environmental atmosphere into a capital symbol, and the totem generally shows the ethereal and free spiritual outlook.
The works of painter Xie Bingyi are not only artistic, but also Shen Yun and Chinese brush and ink set modeling, creativity, and beauty in one, which is a highly condensed and condensed artistic means and a multi-functional composite carrier. The predecessors said on painting that "whoever has the form of a thing does not have its momentum, it is not as good as its momentum, it is not as good as its rhyme, and it is not as good as its sex." Pen and ink are metaphysical tools and means to express people's thoughts and feelings.
It is also the painter Xie Bingyi's intention and situation in its expression of pen feelings and ink interest is metaphysical, it has a unique sense of formal beauty, but also has the highest aesthetic realm that people pursue emotionally. The pen and ink of a Chinese painting must be able to reach a convincing height in terms of expressive shape, potential, rhyme, sex, etc., so as to give full play to the function of pen and ink, and only then can it be called exquisite pen and ink.
The painter Xie Bingyi's landscape paintings have a dual structure in aesthetic consciousness: one is the artistic reproduction of objective things, the other is the expression of subjective spirit, and the organic connection between the two constitutes the artistic beauty of traditional Chinese painting. To this end, the artistic conception emphasized by legendary art is neither a simple depiction of objective objects nor a random combination of subjective ideas, but the unity of the subjective and objective worlds, and is the embodiment of the high degree of harmony achieved by the painter in the three aspects of natural beauty, life beauty and artistic beauty through "the creation of foreign teachers and the source of the heart".
Artist Art Profile:
Xie Bingyi, Principle Affairs of China Artists Association, Vice Chairman of Henan Artists Association, Former President of Henan Provincial Academy of Calligraphy and Painting, President of Henan Huaxia Culture and Art International Exchange Society, President of Henan Provincial Art Development Promotion Association, Distinguished Professor of Henan University School of Art, former Member of the Henan Provincial Committee of the Chinese People's Political Consultative Conference, First-class Artist, enjoys special allowances from the State Council.
His works have won the Bronze Medal of the Sixth National Art Exhibition, the Excellence Award of the Eighth National Art Exhibition, and have been selected for the Seventh and Ninth National Art Exhibitions and the First Biennale of the National Academy of Painting, the Art Exhibition commemorating the 10th Anniversary of the Establishment of Diplomatic Relations between China and Japan, the First National Landscape Painting Exhibition, and participated in the "Splendid China Wanli Line, Li River Chapter", "Splendid China Wanli Line, Taihang Chapter" exhibition, "Color Ink Realm : Chinese Landscape Painting Academic Invitation Exhibition", "North and South Landscape Exhibition". In 2006, he participated in the Asian Xinyi Art Exhibition held in Malaysia. In 2007, he held solo exhibitions in Taiwan and Japan. In 1985, he made a mural painting "Songmen Waiting for the Moon" for the Great Hall of the People in Beijing. In 1990, he created a large-scale mural "The Soul of the Yellow River", and in 2001, he created "The Great River Waves" for the Great Hall of the People in Beijing. His works have been included in the Complete Collection of Chinese Modern Art, Landscape Scrolls, The Retrospective Exhibition of Chinese Painting in the 1900-2000 Century, and the Spirit of Chinese Landscape. In 2004, he won the Huang Binhong Art Award, and in 2005, he won the Excellent Work Award of the National Academy of Painting Biennale. Published more than ten kinds of personal painting collections.
Xie Bingyi was born in Ningjin County, Hebei Province, and was born in Kaifeng, Henan. Immersed in the deep culture of the ancient capital of the Seven Dynasties since childhood, he was obsessed with art, learning poetry and calligraphy from the scholar Wu Muyao, and learning Chinese painting from the famous artists Ye Tongxuan and He Zhiyi. After the "Cultural Revolution", he was admitted to the art department of Henan University and systematically studied the theory and techniques of Chinese painting. After graduation, he has experienced ups and downs, tribulations, infatuation, diligent in the art of the road, for decades as a day, pen and work tirelessly. Intensive study of traditional landscapes, take the Fa Song and Yuan families, pay attention to the cultivation of painting and outside the painting. His painting style has "Song Ren Fa Du, Yuan Ren Meaning". Xie Bingyi has a bold personality, Geng Jie, maverick, does not enter the vulgar stream, makes friends regardless of respect and inferiority, is good at reading, likes to travel through famous mountains and rivers, is created by foreign teachers, and has won the source of his heart. His paintings are profound in kung fu and rigorous in law, and he enters and exits the traditional laws and creates a new realm. Its landscape has many changes in meaning, deep hills and ravines, majestic and vast, handsome pen and ink, long and fresh artistic conception, elegant and turbid colors, giving people a strong visual impact.
In his creation, the painter Xie Bingyi not only intends to install the natural scenes of mountains, rivers and rivers in his heart, but also masters the brush and ink methods in Chinese national painting.
Heaven and earth have great beauty without words, four times there is a clear law without discussion, and all things have a reason without saying "the beauty."
(1) Pen and ink
In Chinese painting, brush and ink are the basic elements and the basic modeling means of Chinese painting, which contains high aesthetic value. The second method proposed by Sheikh in the Catalogue of Ancient Paintings is the "bone method with the pen", which is second only to qi yun in importance. Ink has the meaning of integration in Chinese painting. In Chinese landscape painting, only the complementarity of pen and ink can truly achieve the aesthetic effect of "ink halo". Therefore, pen and ink are almost the core of Chinese painting.
Jing Hao said in the "Book of Penmanship": "With the color of the class, there has been energy since ancient times; such as the water halo ink chapter, the revival of my Tang Dynasty." Jing Hao proposed to emphasize both pen and ink. Brushwork, ink and chapters are important factors in the composition of Chinese landscape painting. Chinese landscape painting constitutes a huge language system of landscape painting with the method of painting as the core. Among them, the line modeling and the wrinkle method in the brushwork have become the main means of expression of Chinese landscape painting. The special technique used in Chinese landscape painting to depict the texture and texture of mountain stone bark, the organic combination of pen and ink midline and wrinkle, enriches the texture of mountain stone and the means of expression of landscape painting. For example, the "PenManac" mentioned in the "PenManship", "Phi Ma Chuan", "Lotus Leaf Wrinkle", "Unso Suo Wrinkle", "Cirrus Cloud Wrinkle", "Cow Hair Wrinkle", etc. present a radiating, slender, fluctuating, lively, smooth and ascending rhythmic mood. According to Jing Hao's own explanation: "The author, although according to the law, the fortune is changed, it is not qualitative or formless, like flying. Ink, high and low halo, shallow and deep, natural color, like a non-cause pen. Jing Hao's "true and similar" artistic ideal theory, "qi, rhyme, thought, scenery, pen, ink" six to say, "the depth of the image of the clear object", "search for the mysterious creation of truth" of the teacher's natural theory, the tangible disease, the invisible disease of the two diseases, "tendon, flesh, bone, force" four potential theory, "god, wonderful, strange, clever" and the pursuit of art rational temperament are good, the six must be complete, the two diseases are nothing, the four times are complete and have the magic of nature, and other ideas constitute the aesthetic theory of the Chinese landscape painting system.
In The Book of Brushwork, Jing Hao emphasizes the charm of ink and the dynamics of brush in landscape painting. He said: "Where the pen has four potentials, namely tendons, flesh, bones, and qi. The pen is absolutely non-stop, so-called tendons. Undulating into reality, called meat. Life and death are just right, called bones. The trace painting is undefeated, and it is called angry. Therefore, those who know the great quality of ink lose their bodies; those who are weak in color are defeated; those who are dead have no flesh; those who are broken have no tendons; those who are charming, have no bones. The complementarity of the four potentials of the pen and the ink painting that Jing Hao talked about can better show the ever-changing weather of nature, achieve the effect of "people think that it is natural", clarify the Chinese landscape painting "with the shape of the way", pursue the transcendence of objects, express the meaning of the outside of the image, the aesthetic connotation of the image outside the image.
Introduction to the author of the article
Feng Dexiang, born in 1953. Graduated from Chinese University. When he was young, he loved literary creation, and published many literary works, and he was involved in a wide range of subjects, and he had certain achievements in theoretical research in Chinese painting, Western painting, literary creation, and aesthetics, especially in calligraphy and painting, which had a solid foundation and could express a variety of contexts and themes.
After thirty years of writing due to work relations, he retired and picked up the pen again in recent years.
He is currently a member of the Chinese Cultural Research Association of the Ministry of Culture and Tourism and a member of the Beijing Chinese Calligraphy and Painting Association.