Source
Wen 丨 Huang Liyou
Song Dynasty Zhu Xi 'Guan Shu Has a Feeling" Yun: Ask the canal that is as clear as promised, for there is a source of living water. Zhu Zi wrote about the half-acre square pond, there is water at the source, the small pond is naturally clear and fresh, the fish will also be full of vitality, and the voice outside the words is the use and meaning of reading more books and reading good books. Put into the exploration of art, the source of living water has become the artist's self-cultivation lessons and ways, and all those who have achieved achievements in art are well versed in the way of living water at the source.
I think one of the sources: the ancients. Wang Yuanqi of the Qing Dynasty wrote in the "Rain Window Manhua Pen": "Learning is not learning from the ancient, like walking at night without fire." When I encounter the true works of the ancients, with what I have gained, I will study upwards, and see if they use the pen, how they accumulate ink, how they are placed, if they are in and out, if they are right, they will be in a position where I am, and it will be consistent with it for a long time. Wang Yuanqi's expression clearly expressed the meaning and method of the ancients, which played an extremely important guiding role in the inheritance and development of Chinese painting.
Huang Liyou Ferry Wave Sketch VI Oil on canvas 100cm×100cm 2021
Oil painting was introduced to China, from introduction to popularization has a history of more than 100 years. At the beginning of the 20th century, the pioneers of oil painting in the mainland traveled to Europe and Japan, and the initial purpose was to learn and master the western painting techniques of scientific realism to transform the "decaying and decaying" Chinese paintings at that time. At the beginning of the 20th century in Europe, when the Western modernist art movement was in full swing, modernist painters such as Fauvism, Cubism, Symbolism, and Expressionism were denying their traditional art, while turning their attention to African art and Oriental art, seeking new visual enlightenment and artistic inspiration. Their paintings were gradually liberated and freed in the Western classical tradition: breaking the consistent focus perspective, eliminating the performance of a single light source, deconstructing the inherent three-dimensional space, the picture moving towards flatness, the free combination of structural space, the bold use of lines, the use of bright colors, and so on. Many of the artistic concepts and expression techniques of Western artists intersect with the eastern concepts of painting and visual forms, which makes students studying abroad have a sense of seeing the clouds. In the collision of Eastern and Western cultures, in repeated comparisons and long-distance observations, they have a more sober and profound understanding of their national art, and a large number of art students have begun to study national traditional culture and strive to explore the road of integration of Chinese and Western art.
Huang Liyou Canglang Pavilion Autumn 100X80cm 2020
After returning to China, the students represented by Xu Beihong and Lin Fengmian will teach Western painting concepts, methods and techniques at the same time, and will inevitably once again deeply face the cultural traditions of thousands of years and think about the direction of their own and national oil painting art. In the face of the profound and wonderful culture and art created by the five thousand years of civilization, in that profound and beautiful aesthetic connotation, they choose pearls and choose their own paths, and the psychological structure and aesthetic taste of oriental culture jump up and down. Mr. Lin Fengmian has a deep foundation in sinology, has done in-depth and meticulous research on Eastern and Western art, and as a firm practitioner and promoter of the nationalization of oil painting, he proposed in the early 20th century that "introducing Western art, sorting out Chinese art, reconciling Chinese and Western art, and creating the art of the times" has had a positive impact on and promoted the development of the nationalization of Chinese oil painting, especially towards the development of oil painting freehand, and has guided generations of Chinese artists to move forward.
Huang Liyou Mountain High Water Long Oil On Canvas, 190x230cm, 2018
Source two: teacher creation. Created into nature, for society, for the present life, for the world situation, for the artist's time, all the perceptible worlds.
Tang Zhiqi of the Ming Dynasty wrote in "Painting Things": Painting is not only fa gu, but also natural.
In the Qing Dynasty, Dong Di also talked about the former Xianyun in the "Yangsuju Painting Hook Deep": "The ancient people and then the teacher created. "The law of the ancients is to use, and the image of creation is the body. The paintings of the ancients are all created, and the remarkable creation is nothing more than painting. Therefore, the saint does not say "Easy", and the quiet living is nothing more than "Easy". The painter has reached the extreme place, and walking and sitting is nothing more than painting.
Huang Liyou White Horse Tower Village 80x60cm 2017
It can be seen from the above painting theory that the teacher of the ancients is more to learn the painting theory and methods and techniques of the ancients, there are various views, there are many methods, mainly reflected in the "use"; the creation of the teacher is to learn from nature, to life, to society, and to this perceptible world on the basis of the ancient people. "Don't stick to the ancient law, don't cling to your own opinions, but live." The "life" that Zheng Banqiao talked about and the "body" that Dong Tang talked about are the foundation of painting and the real source of artists' creation in different eras.
So how to create a teacher? Of course, it is to explore and learn various laws from nature, that is, to seek truth, which is also an important lesson and path for art learning. In ancient China, there are many examples of natural teaching, such as the Qing Dynasty painter Shi Tao proposed to "search for the Qifeng draft", his works are ever-changing, the pen and ink are fresh, the atmosphere is vivid, whether it is the chapter, the shape, the use of pen, the color are rarely similar. Fan Kuan of the Song Dynasty proposed that "writing Song Wanben began to get its truth", he attached great importance to sketching, lived for a long time in the famous mountains and rivers such as Huashan Mountain and Zhongnan Mountain, and his exhaustive natural creation, the momentum of the mountains and rivers was in full view, the scenery was created, and the forest was sketched, so there were "Xishan Travel Map", "Snow Scenery Cold Forest Map" and other famous works. Corresponding to the West, Turner, Seurat, Sisley, Renoir, Van Gogh, Gauguin, Cézanne, etc., represented by impressionist painters, have all created a large number of stunning global impressionist works by going out of the studio, walking into nature, and communicating with nature under the sun, rain and fog, and also influencing generations of artists around the world to enter nature and create many works with the characteristics of the times and nationalities in the way of sketching.
Huang Liyou Empty Valley Wind Oil on canvas 70X70cm 2016 Painted in Xiangxi
The Russian literary and art theorist Chernyshevsky said that "art originates from life and is higher than life" is similar to China's "teacher creation". The root of art is in nature and life, without life archetypes or phenomena, there is no source and inspiration for artistic creation, and all the bits and pieces of life may become the materials and prototypes of artistic creation. Moreover, artists can only create beauty if they go deep into life, reflect on society, look at the world, draw nutrition from it, and get inspiration, so as to stimulate creative enthusiasm, open creative ideas, and fundamentally discover beauty, refine beauty, and think about beauty. This is the driving force, the passion, the source, the method and common choice of thousands of years of cultural and artistic creation, and it is also an important source for each artist to create works that are independent of the forest of art and have a strong imprint of the times and spiritual character.
Huang Liyou After the Rain, Oil on canvas, 60x50cm, 2015
In today's turbulent and unpredictable world of art, artists on the shelf face more choices and challenges. The choice of creation methods and ways also means the limitations of creative methods and means, how to make the art on the shelf revitalized in the context of the rapid development of high-tech application technology in the world? How not to lose yourself in this vast ocean of art? This is a problem that every artist who engages in art creation on the shelf must face and think about. So, how to connect with tradition, dialogue with nature, choose life, and think about society? How to think and respond to the world art in the present? I think this is the contemporary meaning of the source of living water.
Huang Liyou Summer Oil on canvas, 100cm x 80cm, 2011
Huang Liyou Riverbank Breeze Oil on canvas 80cm×100cm 2010