Wu ying riding
Originally, art can sensitively reflect people's thoughts, emotions and consciousness, people's understanding of themselves and the world, and record the footprints of human history (not limited to the footprints of heroic figures). Oil paintings before the 1970s on the mainland, due to the factors of political and cultural context, were deeply influenced by the "revolutionary realism" of the former Soviet Union, focusing on political themes. A series of tight spells on painting creation, such as diluting style, avoiding form, infinite admiration for the sense of mission, and realistic techniques based on mainstream ideology, suffocate the artist's talent, and artistic creation is also integrated into the overall scope of institutional activities. The so-called political themes are limited to the worship of the heroes and the great achievements they have created. "××× dawn"... Extremely limited themes, however, are spiritual communions for more than one billion people, which have become recurring artistic models, and have shaped the fictional art scene into a unique historical model in people's minds. To play the big picture of "realism" is actually an anti-realism prank. On the basis of such a theory, the "red, light, bright" and "high, big, and complete" advocated during the Cultural Revolution became more and more intense, and the "meritorious paintings" of the feudal emperors of the mainland and the religious altarpiece painting techniques were used to suddenly highlight the main characters in a large group of unbalanced masses of the people, and the masses of the people became the "ant people" of visual images in the paintings. The principle of monopolistic creation has stoded the essence of painting, and the colorful creative subjects have been used as documentary and biographical spiritual manifestations of influential figures, or for the harsh social reality, or for the service of class struggle, and even reduced to the public opinion thugs of the "Gang of Four". They lose the conscience of the artist, and use visual images to guide people to aesthetic folly and value confusion, which also leads to the loss of people's nature, natural law, and causality.
After the Cultural Revolution, the reform and opening up initiated by a group of proletarian revolutionaries by Deng Xiaoping gradually increased foreign exchanges, independent creation gradually became active, the status of "realism" as the only creative principle of "mainstream discourse" was gradually loosened, and a group of dark horses took advantage of the situation to enter the painting world, and this group of young artists tried to find those parts of their own culture that had not yet been distorted by ideology. They used paintings such as "scars" and "localities" to express the real living conditions of the people, in an attempt to "drum and shout" for the people. Although their artistic accomplishment and techniques are still unsatisfactory, the people's misery and wandering, reality and hope have been visually reflected. There is undoubtedly a great impact on "monopoly customization" and "mainstream ideology". Their works "Father", "Snow on the × of × 1968", "Spring Breeze Has Awakened"... and other works also hint at their "historical collation" nature. These dark horses, such as Zhang Xiaogang, He Duoling, Luo Zhongzhong, Cheng Jungle, Zhu Yiyong, Yang Qian, Qin Ming, Zhou Chunya, Chen Anjian and other generations, began to rise in the painting world, and the "Sichuan School" has become the target of art historians and market attention. Now, these characters are close to the age of "knowing the destiny of heaven", due to the consumption of physical strength and the mutation of status, especially some of them have settled on the rich list, some have become authoritative figures in the art world, and some have been interpreted as "masters", where they are arrogant and their brushes have been shelved. Due to the changes in the social environment, their inherent styles and patterns are slowly moving towards the needs of the market, even if they are slightly retained, it is only the sunset dusk.
The fine tradition of the "Sichuan School" cannot be deterred from this, and we hope that their excellent artistic genes can be inherited and derived.
We can see happily that a number of new talents such as Duan Qifeng, Huang Run, Liu Shu, and Yin Chonggang are emerging. They have all received formal technical training from the Academy of Fine Arts, and all have a solid oil painting skill and a solid foundation for life. In the face of the dazzling "ideological trends" and genres, especially in the face of the temptation of the market economy, they firmly walked, with a calm and ordinary heart, with no change, not to follow the tide, but to actively extract beneficial nutrients from various modern art, which also ensured their depth in painting and concepts.
Throughout their works, the overall feature is to be close to life, select ordinary scenes and ordinary characters, they do not show their talents in the work, and emphasize the absolute familiarity of the theme and plot. Their works do not have spontaneous brushstrokes and dazzling colors, and seem to be unthinking, unpolished photographic hand-picked, emphasizing reproducibility, trying to dilute emotion, and the style is also neutral. There is no philosophical allegory and political metaphor, and they also try to divert the viewer's attention away from the manifest emotions, but the psychological bearing of painting conveyed by their works is more intense because of its indirectness. Duan Qifeng uses a calm and extremely detail-oriented portrayal to give full play to the visibility, objectivity and perceptuality of the object image of the modeling language medium, so that the viewer's visual perception is accompanied by organic psychological feelings to produce associations, using seemingly indifferent visual description, but also for the sake of easy to understand, easy to identify, resulting in the credibility of visual perception. The painting style is mellow, the "ghee flavor" is strong, and the breath of life is overwhelming. This resemblance of truth he pursues is a reality that moves away from the extreme world and towards prudence. Huang Run's characters do not have a chen-style smile, but have a kind of spiritual stimulation and aesthetic appeal, he is good at capturing the virtual and real, rigid and soft, ingenious and relaxed, complicated and simple and hidden dew of the character's demeanor and picture processing. This difference in plastic arts can effectively enhance the stimulation effect on vision, giving people a striking, affirmative and strong visual impression. The shape of the image can only be eye-catching with a clear personality, and the irritation is unforgettable. The contrast of differences can break the monotonous unified pattern, seek a variety of changes, set off aesthetic waves, cause contradictions and opposites, and form visual tension. Tension is the concentrated embodiment of the change of difference, the ontological perception of the essence of difference, and the aesthetic charm of difference change. Only in this way can we break through the clichés and form distinct artistic characteristics.
The works of Liu Shu and Yin Chonggang have a sense of intimacy and nostalgia for the integration of man and nature, a beautiful and quiet water town, an old house forgotten by modern society, and the painter examines these natural objects with poetic excitement, finding cultural connotations from their existence, as well as the infinite expanse of time and space. Especially in the market figure painting favored, the sky-high price continues to rise, resulting in landscape painting in a low tide situation, Liu Shu, Yin Chonggang is very religious and persistent in artistic creation, do not play fashion modern, they are immersed in water towns and ancient houses, wandering in old houses and countryside. Their works are full of nostalgia and local feelings. From Xiong Yong's works, we can see that she explores the artistic trajectory of innovation, she studied painting with her father since childhood, and then entered a higher education institution, and has a special love for decorative painting and Chinese landscape painting, decorative painting emphasizes the rhythm and change of color. Like pure music without lyrics, color can make people have rich associations, and can use generalization, refinement, exaggeration and other techniques to strengthen the appeal of art. Chinese landscape painting can best reflect the fusion of man and nature. The harmony between man and nature is the essence of ancient Chinese philosophy, Chinese landscape painting does not use focus perspective but use scattered perspective, the changing viewpoint is placed in a picture, indicating the viewer's observation angle and the direction change of the object and the passage of time. The purpose is to show that people are in the natural environment, so that people can leisurely swim in the mountains and rivers. Chinese landscape painting is essentially timeless, using a variety of methods to express the lush and empty poetic beauty of mountains and mountains, as well as the elusive sense of life. Cold valley forest, Banqiao fishing boat... The tranquility and softness of nature, often expressed by these Chinese landscape painters, is to create the artistic conception of "assimilating with mountains and rivers". Xiong Ying has been exploring the organic combination of decorative painting and Chinese landscape painting, and she has been inspired by dunhuang murals and the paintings of Li Sixun and Li Zhaodao, who are not only ink and light, but also have a tradition of brilliant colors. How to combine? The art form is "the cloak of all facts and ideas" (Gorky). What art forms and mediums were used to complete her vision? Material is the material basis of plastic art and the first element that constitutes the beauty of the plastic art form. She paints oil painting landscape paintings on the canvas that is not afraid of re-rubbing and re-erasing, which can not only be superimposed and covered, but also give full play to the richness of color language and the characteristics of Chinese landscape painting time-space, resulting in a kind of philosophical and rational color charm and aesthetic visual enjoyment, color elements and time and space concept in her oil painting landscape painting have been successfully combined, but also expressed her new thinking and new emotions.
If we read through their works again, we will be surprised to find that their works do not have major themes and intimidating plots, but they have faith, piety, kindness, laughter, light, whether portraits or old houses, they are "grassroots" and "cottage" style of simplicity and ordinary, not only the weather-beaten, broad and powerful "Khampa Hanzi", but also the industrious, generous and simple style of the characters in "Qinghai-Tibet Herding". The inquiring vision of Huang Run's characters and the childishness and innocence of the beloved girl deeply infect the viewer. These Tibetan characters, bathed in sunlight, seem to beat in the air with cheerful and light music, and the sunshine is a footnote to his (her) "happy labor" and "good times". With their unique brushstrokes, they show the majestic and rough spiritual strength and the beauty of human nature. It shows the harmony between man and nature, and the major themes of human nature and love.
Such a group of oil painters born in the 70s and 80s, with a sunny personality and good cultivation, have received strict training in the academy. With the most fulfilling and comfortable living conditions, they are separated from the established "social image" and conceptual performance of the past, and their aesthetic pursuit is to pay attention to the eternal themes of human survival, life consciousness, human nature and love, which can be combined with the aesthetic needs of society, and have a large audience, whether from the perspective of painting style or teacher-inheritance relationship, it heralds the birth of "new painting style".
(Professor Wu Yingqi was a degree review expert of the Ministry of Education, the editor-in-chief of the magazine "Contemporary Artists" of the Sichuan Academy of Fine Arts, the director of the Museum of Fine Arts, and the president of the Academy of Fine Arts Design.) Executive Vice Dean of the School of Humanities and Arts, Chongqing University, Master Tutor, Member of the 1st and 2nd CPPCC of Chongqing Municipality)
Pilgrimage to Duan Qifeng
Weaving felt Duan Qifeng
Plateau herder in fur hat (oil on canvas) Duan Qifeng
Duan Qifeng, the little girl holding the sheep
Qinghai-Tibet Grazing (oil on canvas) Duan Qifeng
Tibetan old man on a prayer wheel (oil on canvas) Duan Qifeng
Old House Series (Oil on Canvas) Liu Shu
Yuanyuan cooking smoke Liu Shu
Old Street Liu Shu
Walk relative Liu Shu
Kurahara Girl Huang Run
Huang Run, a silver-haired Tibetan old man
Huang Run, an old Tibetan man with a red ribbon
Tibetan shepherd Huang Run
Leaning on the mountain Matsuma book sound bears the sound of the bear
Fishing song into the pool deep bear
Stone Road Yin Chonggang
One of the Old House series (oil on canvas) Yin Chonggang
Yellow Oak Tree on the Creek Bank (oil on canvas) Yin Chonggang
Creekbank Old House (oil on canvas) Yin Chonggang
Sleeping Girl (oil on canvas) Yin Chonggang