I know my Chinese paintings
The decline of Chinese painting today lies in the loss of tradition and the invasion of the West.
The Western art education system is the mainstream of today's art academies, which has changed the thinking of generations of Chinese artists and our eyes on the world. Is it gratifying or pathetic?
Southern Song Dynasty Li Di's "Wind and Rain Pastoral Return Map"
Chinese painting has a poetic life ontology, abstract expression and stylized expressive signs. From the very beginning, Chinese painters despised the depiction of plagiarism from nature, and did not think of reflecting objective truth as a thing, but paid attention to the subtle rhythm of truth in the depths of the soul.
Chinese painters dismantle everything in the world to investigate their "reason". Understand and "program" the "cell composition" to create everything in the world in this stylization. This is a world away from the science-based perspective, sketching, and colorology of Western painting.
The development of Western painting is revolutionary, resulting in changes in concept, and then a new school of painting is born, so it is not contaminated with any traces of traditional painting.
Ming Zhou's crown "Loquat Rare Bird" part
71.4×30.4cm Collection of the National Palace Museum, Taipei
The development of Chinese painting is progressive, based on abstract calligraphy, reflecting the views and thoughts of life subjects on the objective world, and expressing the author's inner feelings with the help of objective objects. More precisely, the content of the painting is not the goal of the painting, the embodied spirit is the true meaning of the painting, and the schema is nothing more than "borrowing the corpse to return the soul". It can be seen that Chinese poetry remains unchanged, Chinese calligraphy remains unchanged, and the spirit of Chinese painting remains unchanged.
Southern Song Dynasty Anon
Picasso said: Creation and pursuit are useless, what is important is to discover. Chinese painters pay attention to the discovery of their own inner hearts and the discovery of objective objects, and never deliberately pursue creation to achieve individual value embodiment. However, due to their individual differences, environmental differences, and historical differences, their performance styles and styles are very different, while their inner spiritual essence runs through the same.
Reverence for Chinese traditions, faithfully learning from predecessors, in order to naturally transform themselves, and then opening up the sect, is the only way for Successive Generations of Chinese painters to succeed, and the same applies to today's artists. Not opportunistic and undisturbed by many artistic trends in the outside world is the guarantee for moving forward along this trajectory.
Yuan Ni Zhan "Tong Lu Qingqin", 90.1x30cm, Collection of the National Palace Museum, Taipei
Neither Western subjective expressionism nor objective realism can replace Chinese poetic romanticism. What cannot be subverted is the aesthetic habits of Chinese for thousands of years. They are accustomed to the "lying swimming" of landscape painting, and have no intention of comparing the real mountains and real waters; they are accustomed to the "transmission of the gods" of figure painting, and have no intention of looking like images; they are accustomed to the composition of freedom and have no intention of passive depiction.
Northern Song Dynasty Mi Fu "Spring Mountain Ruisong Map"
I think that Chinese painting has a traditional bloodline, a unique observation method and a form of expression, which has nothing to do with the concept and practice of Western painting. The combination of East and West in today's Chinese painting world, the theory of style alone, and the theory of personality expansion are all things that I despise. Therefore, I cannot walk into the so-called "modern Chinese painting". And I am in today's society, but in my bones, it is impossible to be a "traditional Chinese painting". In this sense, it should be "current Chinese painting".
Artist Profile
Song Weiyuan
Famous calligrapher and painter, art educator, poet. Graduated from the Chinese Painting Department of the Central Academy of Fine Arts and stayed on to teach, thanks to the careful teaching of Ye Qianyu and many other artistic predecessors. Landscapes, flowers and birds, characters, calligraphy, seal carving, poetry, ancient calligraphy and painting appraisal have a very high degree of achievement, and fine study of guqin, Peking opera. Who's Who in the World at the University of Cambridge, UK. He has traveled overseas for ten years, conducted in-depth research on Western art, and at the same time profoundly sorted out and explored the artistic practices and artistic ideas of many chinese painting predecessor artists who emigrated overseas. It confirms the accurate positioning of Chinese painting in the field of world art. The "Theory of Chinese Painting Pedigree" put forward by him has a huge impact on today's art world and has far-reaching historical significance. He is well-known in the field of Chinese painting education, and the "Art Huangpu" art education he founded is of great significance to the revival and promotion of traditional Chinese painting. He was a visiting professor at Chinese Min University, a visiting professor at Tsinghua University, and a visiting professor at Tianjin Academy of Fine Arts.