Wang Xuefeng, Member of China Artists Association, Member of China Critics Association
Biography
Born in November 1972 in Yangzhou, Jiangsu Province
In 2003, he graduated from the School of Fine Arts of Nanjing Normal University with a master's degree in fine arts in the direction of Chinese painting creation
In 2007, he graduated from the Department of Art of Southeast University with a doctorate in art
In 2010, he was a postdoctoral mobile station in fine arts of the Central Academy of Fine Arts
He is currently a research librarian, postdoctoral workstation supervisor, and deputy director of the Collection Collection Department of the National Art Museum of China, mainly engaged in the creation of Chinese painting, the research of modern and contemporary Chinese art history, and exhibition planning.
2019 Bright Moon Qianli Paper Color 35x50cm Wang Xuefeng
Since I was a child, I like to doodle, when I was a child, I copied Lu Zhishen in the Water Margin comic strip, and the shape was similar to that of a god, and others were amazed when they saw it, which may be my original intention of painting Luohan today. After being admitted to the Middle School Division, I re-examined my painting preferences and have been painting until now.
During my doctoral studies, I conducted a profound combing of painting theory around the theoretical research of painting creation, which then prompted me to gradually construct a system that echoed the creation of painting in painting theory, and found my own coordinates in the context continuation of literati painting.
From this point of view, my painting creation is closer to the state of the ancient literati painter. That is, to continue the context of literati painting, to enter the painting with the heart of questioning, and painting is the form of questioning, which is the presentation of my artistic thoughts.
In the continuous practice of pen and ink, prayer seeks new forms and realms, and then transcends the world, transcends the self, and finally sees the mind and sees the path of enlightenment.
Xuefeng Wang Meditation Meditation 68cmx68cm 2018
Here, I will share some research experience.
China's painting tradition is rich and diverse, and its development process has gradually moved from secular practicality to spiritual transcendence.
According to archaeological records, early painting is more of a scene of secular painting or imagination accompanied by rituals and sacrifices; while the court painters of successive dynasties have depicted content or for political propaganda, or for etiquette, or for decoration, and the expression of painters can only conform to the style of royal standard court painting and dare not cross.
Look at The Chinese Buddhist Taoist art as a medium for disseminating teachings. The painter visualizes the content of the scriptures in accordance with devout faith according to rituals and chalks to educate and infect the faithful.
There are also painting arts that exist in the folk and are closely related to the lives of the people, most of which are combined with folk customs, expressing the straightforward, primitive and simple aesthetics of the common people and pinning their wishes for a better life.
The above painting art, which is satisfied with different social classes and groups, constitutes the rich content of Chinese painting, but they mostly have the need for secular function. The emergence of literati painting is to seek inner freedom and breakthrough beyond the world in the form of painting.
The starting point of Chinese art is based on the "heart", and the object to be expressed is not a depiction of reality, but must go through the process of "heart", the so-called "foreign teacher creation, the source of the heart" is this truth.
Chinese painting is mostly made of brushes, and the writing of the brush forms a line-centered painting language. The way of writing is used to express the world internalized by the painter, that is, "freehand". Therefore, "freehand" is the soul of Chinese painting. On this basis, literati painters emphasized the use of calligraphy with pens, and "pen and ink" became the most important aesthetic form of literati painting.
In addition, the literati's attitude towards painting was influenced by Confucius, who believed that it was a small skill and could not be too indulgent, otherwise it would affect the avenue. However, when the literati gave the connotation of "Tao" in their paintings, which became a means for the literati to seek the Tao, they formed a natural distinction from other secular painting works. This is because, in the process of realizing the Dao, literati painting transcended the shackles of the world and reached spiritual freedom.
Therefore, when appreciating literati paintings, we must focus on the breath, pattern and realm of the picture, which are completely externalized at the level of literati's human nature.
Looking at the supreme realm of Chinese art history, it is inseparable from the concept of "emptiness".
However, in today's wave of market economy, many professional painters, in order to cater to the world, have pulled literati paintings back into the dust and gone to the end. The introduction of modern Western culture and the rise of popular culture have made traditional Chinese painting face new challenges and new opportunities to modernize.
In today's context, it is the responsibility of my generation how Chinese painting can achieve the transformation of modernity while having qualities that transcend the world.