Vernacular complexes and modern contexts
Look at Sun Chengxin's paintings
Text/Cheng Dali
Sun Chengxin is an old editor of the People's Fine Arts Publishing House, and his long-term editing career has cultivated the painter's heart and cultivated a pair of eyes that can recognize the authenticity of the painter. His aesthetic orientation is both traditional and modern. He is said to be traditional because he grasps the spirit of traditional culture, and he loves the rich local complex, stone lions, door paintings, mottled old walls, and moon shadows in the water village, which are soaked with the taste of Chinese life, and have taken root in the new soul, so that they have become a part of his life. I concluded that he liked Peking Opera, loved to drink erguotou, and of course, he also liked to watch shadow puppetry, and even indulged in the scene of the social fire. He is much more sensitive to tradition than the average artist, so the breath on his paintings is all Chinese. But he was not a mechanical traditionalist. He did not pay too much attention to pen and ink technology, especially the literati pen and ink since the Yuan Dynasty, did not "enter the painting method with calligraphy", but created a new context, which is somewhat fashionable and somewhat modern. It absorbs the constituent factors and abstract vocabulary in the Western modern painting style, emphasizes the contrast of clumps and the use of color, and even the relationship between cold and warm is also in the painter's design. It can be seen that the painter is very careful to conceive and deal with "the natural cloud brocade is used in me, the tailoring is not a ruler", and it is difficult to paint with heart while still retaining passion.
The painter created a form of his own, formed a very personal language, and created a context that integrates tradition and modernity, East and West, which is the direction of Sun Chengxin's exploration. When people discuss the issue of "globalization" and "localization", Sun Chengxin's art offers a possibility for the development of Chinese painting, which should be said to be the contribution of a cultivated middle-aged Chinese painter. However, Chinese painting, which has been accumulated for thousands of years of culture, also has its own set of aesthetic laws. "Riding a wild horse without a saddle" is the highest state of Chinese painting creation, and taking this as a standard, it is difficult for Mondrian's cold abstraction to be successfully applied to Chinese painting. Do not win by clever calculation, but retain the law of "counting white as black" in the big feeling. Laying out the image and creating the realm in the most free state and form, while maximizing the charm of Chinese painting "writing" is a new topic in front of Chengxin. I would like to encourage him with his new brother in this way. "The art sea is endless", I believe that as an artist, chengxin will have more brilliant wisdom crystallization.
Artist Profile
Sun Chengxin, a member of the China Artists Association, works for the China Art Publishing House and the People's Fine Arts Publishing House. Since the 1980s, he has held several large-scale solo exhibitions at home and abroad, and enjoys a high reputation in the art world. His works are collected by all walks of life at home and abroad. Among them, "Hutong Impressions" is in the collection of the British Museum. "Wuyi Mountain Residence Map" is in the collection of the National Art Museum of China.
Appreciation of works
▍"Under the Gate of Zhengyang" 59.0cmx98.0cm
▍"Beauty Figure" 100.0cmx53.0cm
▍"Water Town" 70.0cmx74.0cm
▍《清起下月下玭下匰》85.0cmx55.0cm
▍ "Bright Moon born on the sea" 104.0cmx64.0cm
▍ "Contemplating the Bodhisattva", 54.0cmx85.0cm