Artistic resume
Dang China, born in 1944, ancestral home of Shaanxi, first-class artist, former responsible editor of "Rong Baozhai" magazine.
He is now a professional painter, working part-time in art guide and Jian Zang magazines, respectively, as an editor, editorial board member, deputy secretary general and director of the Hong Kong Asian Artists Association, a distinguished painter of the Tibet Academy of Calligraphy and Painting, a visiting professor at Jinhua University, a visiting professor at the School of Art of Sichuan University of Technology, and a visiting professor at the School of Art of Yibin College.
The pen of the party China
--Pu Guochang
Dang China's art is a very special and very enlightening case in the current Chinese painting world: the artist is based on the foundation of authentic Chinese art, but in the Chinese way, he has moved towards modern art, a Kind of Chinese-style modern art, which is rare and precious!
I think that the controversy between "the bottom line of Chinese painting is pen and ink" and "pen and ink equals zero" has made painters and critics in the industry angry. Zao Wou-Ki abandoned Chinese brush and ink, and his paintings are very modern and very Chinese. Party China abandoned the Chinese schema and pushed calligraphy with a pen, and its paintings were very Chinese and very modern.
Chinese deep-rooted orthodox mode of thinking is that the emperor Lao Er can only be surnamed Liu, the old authentic Tianzi, and the others are wild species. "Ink painting can only be Chinese pen and ink", "ink painting can only be contemporary with non-pen and ink", all want to unify the world, all engage in dualistic opposition, you die and I live. Party China is very sober here, you argue with you, I play mine, push Chinese calligraphy to the extreme with a pen, and also enter the modern era.
In today's world where the boundaries between art and non-art can be blurred, pen and ink and non-pen and ink, bone method and non-bone method, a pen method will sentence an artist's life and death, it is too authoritarian and too dictatorial.
As an individual artist, there is a master of pen and ink, and there is no ink and ink that can be a master, depending on how you play.
Dang China is very sensitive to form, and in his paintings he is very concerned about the combination of shapes, they are careless, open and close, gathered and scattered, large and small circles, reflecting each other, and the connection between form and object is inseparable, it is not a thing, it is like a shape is not a shape. Dang China also loves the pen for ten minutes, his pen is thick and strong, simple and lovely, especially the relationship between the pen and the shape is seamlessly integrated, the pen does not hinder the shape, the shape does not hinder the pen, the wandering is meandering, free and smooth. His form and pen are derived from nature: tangible and not deliberately shaped is for the shape; there is a pen and not deliberately the pen is for the pen; there are things and not deliberately deliberately for things is for the transformation. In between, let his paintings achieve the elephant, let his paintings sublimate, and enter the realm of transformation.
Zao Wou-Ki's paintings abandon and reject the Chinese calligraphic brush, and he enters modern art through the aesthetic passage of Chinese landscapes and rivers: Abstract Expressionism. However, Dang China entered the field of modern art through the aesthetic passage of typical calligraphy and brushwork, and moved towards abstract expressionism.
The exposition of important people engaged in art is not exclusive to any knowledge: Chinese painting, Western painting, architecture, philosophy, literature, poetry, design, drama, film, astronomical geography, three teachings and nine streams, there is a chance to understand and contact, open books are beneficial, even the Bible, Buddhist scriptures can be studied. As a modern person, a contemporary artist, these are all intellectual literacy and cultural heritage. However, when it comes to creation, it is necessary to choose, highlight certain elements, reject certain elements, and form their own artistic personality, just like cooking, Sichuan's back pot meat, can only put garlic seedlings and exclude onions, and Beijing sauce meat shreds, can only enlarge the onions, absolutely reject garlic seedlings. A good chef knows what to highlight and reject in each dish of a table, and you can't put all the condiments you have on each dish and make it into a flavor.
Dang China knows this well, he does not chew the bread that Zao Wou-ki has chewed, although Zhao is very successful, the party does the opposite, he rejects the Chinese painting pattern, and the duzun pen (Dao), pushed to the extreme, and his schema is to absorb the elements of the plane composition, a reversal of the Chinese landscape painting to be habitable, swimtable Dao, open his independent ink art road.
When it comes to flat composition, many people will tie it to Westernization or even equate it.
China has not experienced the stage of modern art, has not exhausted the self-discipline of the visual ontology like Western modern art, in fact, this artistic self-discipline is the common instinct of human vision, and its results should be the common wealth of mankind, just like Newton's law of universal gravitation, Einstein's theory of relativity, can not be because it is studied by foreigners, we must reject, in order to preserve the nationality and generations only hold gunpowder, movable type version and other four major inventions, keep ignorance is not populism.
The development of Chinese art, the lack of modern art is a big regret, there may not be enough understanding of the contemporary expression of visual language, so our contemporary art, the exploration of the possibility of the use of visual language is also very inadequate, most critics do not talk about vision, only from the perspective of literature, sociology, philosophy, and intellectual history to look at artists, which has formed a bias and one-sided development of Chinese art.
Among the modern Chinese painters, the Eight Greats, The Void Valley, and Pan Tianshou are conscious of the division and shape of the picture. They contributed to the development of the law of formal beauty in Chinese painting. Those who studied them later had a hard time seeing the mastery and development of their laws. Only learn the appearance of a move, do not know the inside. As a result, Chinese painting has only been retro for many years, only nailing value judgments within the framework of the "Six Laws" of thousands of years, and not studying or developing the laws of art ontology.
The modeling characteristics of Party Chinese painting are that things are not things, shapes are not shapes, people are not people, things and people exist in abstract forms, and shapes are things and people as the reason for existence, the whole picture sense is very strong, but the shape is not pretentious or deliberate, he deconstructs the objects, and then the composition of the form needs to be reorganized. His kind of object and non-thing, between people and non-people, leaves a lot of room for the viewer to imagine and participate, which is a way of de-elitist rhetoric in contemporary art. Respect the audience and give the audience room to participate. He gives the sign to the viewer, but gives the sign to a great ambiguity, which gives the viewer the pleasure of completing the work with the author.
This is also the reason why Dang Chinese paintings have contemporary character.
How is the painting of Party China positioned? expressionism? Neo-expressionism? abstract? Figurative? Semi-abstract and semi-figurative? He doesn't care about The Middle or the West, you or me, existence or non-being, he is relaxed and natural, free and free, free and free, wandering between abstract, figurative, semi-abstract and semi-figurative, without any mental burden, which is a very enviable state. What doctrine and what value scale the painting plays with to this part seems to have lost its meaning to him. His portrait is like a living body, living with dignity, free, self-reliant, self-reliant, free, I am me!
Ordinary people sketch are to choose a good jing an and sit down to paint, but the party China likes to make sketches on the speeding train. When the outdoor scenery seen at the first glance is painted, how many kilometers away when he looks at the second eye, he juxtaposes the objects of interest in the second eye with the front, and his paintings have become a mixture of impressions of time and space, and the ancient Chinese landscape paintings are aggregate perspective, and the scenery of the various points along the way is borrowed in a painting, not sitting down to depict a place. The Party's Chinese painting has greatly achieved this style. But he has greatly accelerated: modern speed, modern time and space, more interesting in the information age.
In Chinese landscape painting, the method of organization is the tone of organization, showing the golden rule of the texture and texture of mountains and stones, but in the landscape paintings of Party China, there is no law, and his organizational tone is completed by the density of the shape of the object and the thickness of the line. The line occupies a pivotal position in his paintings, and the spirituality of the lines is the soul of his paintings. His lines are rustic, thick, natural, peaceful, subtle, and have a great affinity. This spiritual character of the painting is manifested by the character of the line. He pushed the spirituality of the line from the object to the extreme, and let him gain an independent position in the Chinese painting world.
From the perspective of the spiritual character of the line, Pan Tianshou's thread has a golden stone taste, publicity, domineering, and strength. Li Laoshi's line is thick, golden, restrained, and simple, which is different from the line of party China but very bitter. Nowadays, many painters' lines are self-proclaimed and ethereal, but in fact they are frivolous, and many people in the industry misread the oily sweet custom as "flowing", which is very harmful.
A good Chinese painter is not only skillful in using lines, such as shallow laws such as skillful and in place, but the most important thing is to have a self-consciousness about the connotation of the line, the line should contain emotion, and further the line can taste the artist's character, temperament, cultivation, and temperament, so that the line enters the spiritual level.
Dang Chinese painting dissolves many elements of Chinese painting: objects, people, schemas, ink colors, fafa, space, time, etc., making them abstract, semi-abstract, or simply canceled. The purpose of his dissolution is to improve the purity of the line that defines the shape, so that the picture becomes very simple, so that the spiritual dimension of the line is highlighted as the only world and earth.
Dang China's paintings are full of feelings, pushing calligraphy with pens, but looking at his paintings is very affinity, some critics think that Huang Binhong's paintings only emphasize the law of reason, that his best works are works that talk about the law of reason, and his painting theory is also the same as the law of reason, but looking at his works, in fact, Huang Dang is the same, each of them contains emotions, random hair, and the business is pervasive; it should be said that the law of reason is internalized in the cultivation of the artist, becoming an ingredient of the work, "doing whatever you want", "want" is a word of emotional color, and "moment" Then it is the degree of reason and law, which is indispensable and complements each other. On the other hand, Lu Yushao's works are skillful in pen and ink, the law is deep and strict, and it has a more textual nature, from text to text, schematic pen and ink, symbols are superimposed; we must intuitively feel the work as the basis for judgment, not only to take the painting theory and proposition as the a priori standard, not only to know its text, but also to feel its painting.
In Chinese painting, "qi" is the first priority, there are many ways to take "qi", the party China alone uses the pen to take "qi", for other factors, can give up, can break or break, made a big article.
After traditional literati painting, new literati painting, and abstract ink painting, Dang China explores a new way of expression, which is both traditional and contemporary, neither traditional nor contemporary, and it is precisely by using the double deconstruction method to find the essence of culture and make it enter the construction path of modern and contemporary Chinese painting aesthetics.
The landscape painting of the party-state tore a gap, he completed an implosion in the heart of Chinese painting through the form of double deconstruction, this implosion is manifested in the internal level of Chinese culture, the party-state is deep into the core of Traditional Chinese painting, grasping the essence of tradition with "brushwork", disintegrating the landscape schema, ink color, wrinkle law, space, and even pen and ink lines, breaking the traditional empirical stylization practice, extracting the pen line, and highlighting its own spiritual value. Undoubtedly, it has the most distinct Chinese spirit and Chinese aesthetic; then it subverts those concepts that pen and ink cannot enter the modern and contemporary times, deconstructs the thinking based on the western painting, transforms the elements of tradition, makes tradition have the meaning of the present, and completes the expression of the present. Examples of this are Italy's three C's, they convert their own folklore and artistic traditions, and carry out contemporary art expression in the European context, rather than following the Trend of the United States; many people are only based on Chinese ink materials when they break through traditional Chinese ink painting, and thinking and visual expression are from the side, they have opened up the space of Chinese painting in form, but this external breakthrough cannot go deep into the core of Chinese painting, and still cannot touch the internal context of Chinese ink painting.
However, Dang China started from the "pen path" and began the road of Chinese art in the modern and contemporary context.