Text/Feng Haitao Landscape Painting/Liu Bingxin
The core of Chinese painting is to express the author's emotions and cognition. If the picture is only a mechanical object form, or a figure within logic, the artistic identity of Chinese painting will no longer be established. It is the condition of the emotion and cognition of the picture, so the picture of Chinese painting can easily be considered unfinished in form. But consciousness does give people endless room for imagination.
Appreciation of Liu Bingxin's landscape paintings
To understand, to understand, is not to measure art, because aesthetics are not equal or uniform. It is also wrong to agree on the concept of similarity and dissimilarity as being understood and incomprehensible. Because the ideas presented and expressed in the art of Chinese painting are not determined by similarities and dissimilarities, but because the ideas expressed are needed. The same painting, some groups can understand, some groups are ambiguous, and some groups will directly think that it is nonsense because they can't understand it. But is this painting a work of art? Yes, and neither. Those who understand it think it is a work of art; those who cannot understand it think it is not a work of art; the ambiguous one is that it falls with the wind, because they cannot be sure, and they cannot determine whether it is a work of art or not. Of course, there will be an opposite effect, that is, those who understand it think that it is not a work of art; those who do not understand it think that it is a work of art. This is also in line with the contradictory laws of philosophy.
The cognition of form is the choice of human vision, but the expression of art is not only a simple understanding of vision. Of course this refers to a wide range, because in a particular group, the first choice of vision is authentic art. However, their first vision is not because of the cognition of form. Rather, it is because it can find at a glance the emotions expressed in the picture and the expression of the painter's thoughts. Whether the picture can be understood or not understood lies in who it is, not the performance of a group or an individual. Taking the similarity and dissimilarity of form as the criterion for understanding and not understanding, it can be basically determined that it does not understand art. Therefore, the beauty of art is not a simple definition of "beauty", but has a special setting.
It is wrong to argue that art serves society and that art needs to be understood by everyone, because when art develops into a productive force, or when it adapts to ordinary aesthetics, it is no longer art, but a product or a craft. It is true that art serves society, but its responsibility is to guide or lead the aesthetic progress of society, rather than becoming the "beauty" that everyone understands at present.
Painter Liu Bingxin
Liu Bingxin: Formerly known as (Liu Bingxin) Yu Shi, master of Shi YunTang. Born in 1968 in Zhaocheng County, Henan Province, he has been guided by famous artists to learn traditional Chinese painting techniques since childhood, and has studied painting for more than 30 years, successively studying under Liu Biaohong and Jia Youfuzhu, focusing on landscapes. He is currently a visiting professor of the Henan Provincial Famous Calligraphy and Painting Art Research Society, the honorary president of the Minshang Calligraphy and Painting Institute, the executive director of the Beijing August Painting Society, the painter of Jia Youfu Studio of the Central Academy of Fine Arts, the tutor of Xiao Daping's National Exhibition Creation Institute, the painter of the China National Culture and Art Research Institute, and the member of the China Young Artists Association.