The scene of the academic seminar of Lu Guoying's "Art Theory of "QiMo Lingxiang""
On December 25th, bathing in the spring breeze of the "double generation" grand event (the 11th National Congress of the China Federation of Literary and Art Circles and the 10th National Congress of the China Writers Association), and on the occasion of the approaching of the New Year and the opening of a new era in Vientiane, the academic seminar on the original art of Lu Guoying, an art critic and former director of the Culture Department of the People's Liberation Army Newspaper, was held in Beijing. Experts, scholars and artists from different fields of the cultural and artistic circles and different majors and directions gathered together to open their minds and horizons on the basic theory, academic characteristics, forward-looking significance, and combined with the challenges facing the current literary and artistic field and the practice of artistic creation.
Participating experts and artists believe that this new theory of original art, paying tribute to the original intention of art and looking at the future of art, in the face of the reality of the various images of literature and art, explores the evolution and development of literary and artistic undertakings, the spirit of the times of art philosophy and the far-reaching construction of high-dimensional aesthetic realm, and puts forward many new views and new propositions, which is original, systematic and forward-looking. The greatest contribution of this monograph is to inherit the spirit of Chinese aesthetics, open up new aesthetic cognition, and create new aesthetic categories, which is a high-profile art theory monograph and an innovative result of literary and art theory research, which is of positive and positive significance for recognizing the evolution of literature and art, constructing new ideas and new ideas of artistic creation, and then practicing artistic innovation.
The reporter noted that in the discussion speech, everyone paid special attention to the construction of the basic thesis of the treatise. The core concept of this theory is "spirit image", "air ink" and "air ink spirit image", and its soul is "air ink spirit image". The treatise puts forward eight new propositions for art through eight systematic essays: "Lingxiang" is the far side of "Elephant", "Qimo" is the future of "Ink", "Qimo" and "Lingxiang" are one and the same and form content, "Art Law Lingxiang" reveals the essential law of art, "High Learning and Great Virtue" enters the aesthetic aesthetics, "Runling Spirit Realm" pushes the peak of literature and art, "Spiritual Realization" takes refuge in the transcendental realm, and beauty is "Qimo Lingxiang". They talked about the originality, system construction, and forward-looking and far-sightedness, which are the outstanding characteristics and academic character of the theory; it integrates abstraction into figuration, the future in history, the transcendence in experience, and the concealment in the manifestation, highlighting the aesthetic ideal and logical realm of the theory. As a new theory of art, it not only relies on the inheritance of tradition, the originality of the theory, and the closure of the system, but also on the integration of classics, the openness of ideas, and the integration of East and West, especially on the transcendence of ideas, the universality of meaning, and the forward-looking loftiness.
Xu Xiangqun, member of the Theoretical Committee of the China Artists Association, presided over the seminar
"The new era needs literary and artistic masters, and it is also completely capable of creating literary and artistic masters!" The new era needs a literary and artistic peak, and it can also cast a literary and artistic peak! "Innovation is the fundamental way and inevitable requirement for cultivating literary and artistic masters and casting literary and artistic peaks." Artistic innovation runs through the whole process of artistic creation, covering all elements of art and technology, including the innovation of themes and contents, as well as the innovation of forms and techniques, especially the innovation of concepts and ideas, which is the highland of innovation, but also the core and foundation of innovation, and always occupies the dominant and leading position of other elements. The participating experts and artists relived the spirit of the "double generation" meeting, paid keen attention to the topic of innovation, and believed that the many new propositions and new viewpoints put forward by the treatise injected new cognition and presented a new realm in the innovation of artistic ideas and concepts, which is a new concept of "standing image" and a new way of thinking of "standing idea" leading artistic creation.
Some of the experts and artists attending the academic seminar took a group photo
Flipping through this "Art Theory of "QiMo Lingxiang", the reporter saw that the treatise consisted of four chapters: overlooking, vertical and horizontal, observing changes, and observing images. "Overlook" is the foundation of the treatise, which is the core and soul of the thesis. "Vertical and horizontal" is the tracing chapter, which is the "big data" and "cloud computing" constructed by this theory. "Observing Change" is the Hui Ling Chapter, which is the examination and exploration of the wisdom of the theory. "Visualization" is the transcendence, which is the coordinate and base point of the theory. There are sayings in the treatise "Trek": the philosophical view and methodology of art are the ontological treatises; the Hui Ling and transcendence articles are aesthetic creation concepts and practical theories, and they are also the spiritual realm view and specific path theory of artistic creation entering the high-dimensional aesthetics.
Transport "ink" and "image" is revealed, and "elephant" is used to transform "ink". In terms of the reporter's concerns, Mr. Lu Guoying, the author of the theory, said that as an art theory and system construction, the theory is rooted in traditional culture, inspired by classical literary theory and art philosophy, overlooking and recognizing the beauty of high dimensions, and inviting and "presenting" the future of art. "Qi-ink spirit image" is the core concept of this theory, and it is also the soul of this theory, which embodies the fundamental meaning of lofty and profound values. Among them, "ink" is the collective name and collection of all creative elements, including the creative subject, while "air ink" is the embodiment and transcendence of "ink", and also the harmony and spiritualization of "ink"; among them, the "elephant" is the form and appearance of all the "elephants" presented by "ink" in the creative state, and the "spiritual image" is the abstraction and generalization of "elephant", the sublimation and beauty of "elephant", and the integration of truth, goodness, beauty and love presented by "elephant" in the high-dimensional aesthetic realm, and then the existence of the great beauty of life ideals and artistic realization. To sum up, "ink" can be Dao, "qi ink" is not Dao; "elephant" can be named, and "spirit elephant" is very famous. "Air ink" is the "ink" of "spirit image", and "spirit image" is the "elephant" of "air ink". In other words, "air ink" is the "spirit image" of "ink", and "spirit image" is the "air ink" of "elephant". The "Qi Ink Spirit Elephant" complements each other perfectly.
Lu Guoying talked about the creation of "The Art Theory of "Qi Ink Spirit Elephant""
The perfect argument, popular interpretation, verifiatory creation and extensive cognition of the treatise were also concerned by the participating experts and artists. In particular, he put forward many constructive opinions and suggestions on docking artistic creation, promoting high-quality works, integrating into multi-dimensional communication, and expanding audience groups.
The experts, scholars and artists participating in the seminar covered the fields and directions of literature, fine arts, calligraphy, music, culture and art education, including art theory, art history, art criticism, literary critics, calligraphy, Chinese painting, oil painters, writers, poets, composers, as well as cultural communication and art educators.
Lü Guoying's "Art Theory of "Qi Ink Spirit Elephant"
The academic seminar was presided over by Xu Xiangqun, deputy director of the Curatorial Committee of the China Artists Association, member of the Theoretical Committee of the China Artists Association, and editor and reviewer of the People's Liberation Army Press press of the People's Liberation Army News and Communication Center, Wang Yong, senior researcher of the China Academy of Arts and editor-in-chief of "Chinese Calligraphy and Painting", Zhang Kunshan, deputy director of the Industry Construction Committee of the China Book Association and a director of the China Book Association for five consecutive terms, Li Xiaozhu, director of the Character Painting Institute of the National Academy of Painting of China and a famous figure painter, member of the National Major Theme Creation Art Committee and director of the China Oil Painting Society. Luo Genxing, researcher of China Freehand Oil Painting Research Institute, Yin Tieliang, famous composer, professor of the Conservatory of Music of Capital Normal University, doctoral supervisor and winner of the "National Outstanding Teacher" medal, Liu Xiaowei, member of the Ninth Plenary Committee of the China Writers Association, vice president of the China Newspaper Supplement Research Association, and director of the Culture Department of the People's Liberation Army Newspaper, director of the China Oil Painting Society, vice president of the Beijing Freehand Oil Painting Institute, and national first-class artist Chen Shudong, vice president of China Art Newspaper and member of the New Media Professional Committee of the China Literary and Art Critics Association, 15 experts, scholars and artists, including Silk Road Freehand Artist, Deputy Director of the Art Committee of the China Public Relations Association, Executive Vice President of the China Silk Road Culture and Art Research Institute, Researcher of the National Academy of Painting, Ambassador of Chinese-Mongolian Culture and Grassland Art, and Guo Mingfu, Director of the Beijing Gongbi Heavy Color Painting Society, made keynote speeches, and Lu Guoying, author of "The Art Theory of "Qi Ink Spirit Elephant", freely talked about his creative experience. A number of traditional media, key portals and new media sent reporters to the meeting for interviews. (Zheng Yi, He Youwen)