Art push | Yang Xianjun's oil painting still life works to appreciate

Author: College Entrance Examination Art Communication

Editor: Yitui YITUI

SIINCE2022

Art Push | Yang Shanjun's oil painting still life

Art Push Culture

Yang Joinjun is the dean, professor and doctoral supervisor of the School of Painting art of China Academy of Art, the chairman of the Zhejiang Oil Painters Association, the deputy director of the Oil Painting Art Committee of the China Artists Association, and the member of the Art Committee of the China Oil Painting Society.

In 1995, I picked up the paintbrush again and began a journey to find visual reality.

Fast forward 20 years, during which I insisted on taking sketching as the basis for creation, visual perception as the premise of painting, and experience as the basis for artistic expression. In the past 20 years, along with the visual journey, I have painted still lifes, figures, landscapes, historical paintings, etc., painted a casual glimpse in the vision, painted the onion that has been repeatedly examined, and also painted the small fish feeding the cat... In the gathering and dispersion of the eyes, sometimes confused, sometimes firm, sometimes discouraged, sometimes full of passion, so there is this "visual condensation", in my case, it has a triple visual connotation:

History – Vision in Meditation

Second, the object - the visual in the intuition

Third, the home - the vision in the experience

The three-fold visual approach is intertwined and accompanied by each other, and together they shape the basic face of my painting. History is as vast as the universe, which part can be gazed at by us in the dark?

Painting is a way of visually understanding and representing the world, and for a long time we have often been entangled in various factors other than "vision", such as "plot", "concept", "form". Therefore, our previous "sketching" is often caught in a kind of utilitarian and daily vision, at this time, the real "vision" has long been obscured. Most of my creations come from "sketching", but first of all, I have the attitude of "going back to the thing itself". For twenty years, I have gradually removed my original experience from my consciousness and constantly searched for new feelings. In the past ten years of still life, I have worked hard to "look at things with objects", strive to "abandon me" and "forget myself", maybe this is what the ancient Chinese people said about the heart and sitting and forgetting! Since 2005, my vision has gradually dabbled in portraits, landscapes and other subjects, and my painting language has been constantly changing, but the attitude of viewing has always been the same. I am well aware that "sensibility" is a fundamental factor in painting. To return to vision is to awaken the most vivid and sensitive ability of our body and mind to perceive the world, but this "vision" is sometimes so ethereal and wandering, it requires the synthesis of our rationality, so that it becomes the "intuitiveness of the intellect", and in this way, condenses the formal language of painting. Twenty years of painting practice, I have constantly looked for excitement in visual perception to depict real feelings, thus leaving behind what is now called "painting style".

Dream Education

Graduate School of Fine Arts of China

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