Early morning reading丨Development of Chinese painting, "promoting strengths and avoiding weaknesses" or "learning from each other's strengths to complement each other's weaknesses"? Let me briefly analyze it

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"Promoting strengths and avoiding weaknesses" and "learning from each other's strengths to complement each other' weaknesses" are both positive words for progress, but on the issue of developing Chinese painting, the two propositions will inevitably have absolutely different practices because of their different footholds, resulting in completely different effects. The stakes are high and cannot be discerned. (The accompanying picture has nothing to do with the main text)

Usually "learning from each other's strengths to make up for their weaknesses", taking the strengths of others to make up for their own weaknesses is undoubtedly a good thing, and the more advantages there is, the better, it seems that there is no doubt, and no one will object. However, the attitude towards the development of art, especially Chinese painting, should attract our attention.

At the beginning of the 20th century, Western art and Western culture gradually moved eastward, and the diversity and richness of world cultures appeared in front of Chinese's eyes. As far as Western painting is concerned, especially the vividness of the exquisite portrait, the accuracy of the shape, and the restoration of color, the Chinese people are amazed. To this day, for the first time, I went abroad, and I saw a large number of exquisite oil paintings from western generations at the Louvre, the Metropolitan Museum of Art, and the National Gallery of Art in Washington, D.C., and this amazement is still the same. It is precisely after this exclamation that the Chinese painting world has always been controversial, and in summary, there have been three attitudes, or three kinds of arguments and propositions, namely: cancellation theory, fusion theory, and characteristic theory.

Although each has its own perspective, in my opinion, the "abolition theory" is a manifestation of the lack of national self-confidence, whether it is "the end of the road", "the pen and ink are useless", or even "tearing down the wall of Chinese painting", and so on. There is not much market for "cancellation theory", and there are already many critical articles. The "fusion theory" is based on learning from each other's strong points and complementing each other's weaknesses, and it is not wrong to think that if it is used as an orientation for personal creation, it is understandable to put forward a hundred flowers, but if it is to be put forward as a slogan, it is necessary to be cautious. For the foreign peoples to absorb the good things, turn into me, there is no need to mark me as "the product of the integration of China and the West." In fact, it is respectable to learn from The East and the West, but the "integration of East and West" only illustrates a phenomenon, not an honor.

The "theory of characteristics" adheres to the characteristics of national art, and under the premise of maintaining characteristics, it is widely and selectively absorbed and innovated, and the proposition of "theory of characteristics" is undoubtedly the most desirable. With the influx of Western culture, with "integration", with the theory of reconciliation, some people have proposed to keep a distance, to pull away, with the purpose of protecting themselves. As some scholars say, "the theory of reconciliation is often premised on the opposition of Chinese and Western art", so there is actually a certain logical embarrassment. Any foreign culture and art can be used as a reference for its own national reflection and absorption, and its practical use is not to stand still, nor to loudly call for integration. The Han and Tang Dynasties absorbed foreign cultures such as India, and never advocated anything to "integrate China and the West", because the integration for me, the main and secondary is very clear, or the culture of my Great Han And Tang Dynasty. The self-confidence of a nation is linked to the strength of a nation.

The attitude of "characteristic theory" is not simply to "learn from each other's strong points and complement each other's weaknesses", but to "build on strong points and avoid weaknesses". Chinese painting is painted on rice paper with a brush, and it is certainly impossible for him to draw as delicately and colorfully as oil painting. The simplest one, he can not be as unsatisfied as oil painting can be scraped off the oil paint to repair and repair, Chinese painting can not be changed, or even can not hesitate, to affirm, but also to estimate the infiltration effect of ink. In terms of pure color, it is not easy to paint the effect of watercolor painting, but the forest of world art has watercolor paintings to do with rice paper paintings?

However, Chinese painting has the advantage of others, that is, the length of pen and ink, Chinese has thousands of years of history of using brushes, and more or less the most intelligent cultural elites have accumulated the way of using brushes and inks in calligraphy and painting, which is an unparalleled cultural wealth. The beauty of the lines of calligraphy, the beauty of the structure of pen and ink, both the beauty of pictograms and the beauty of abstraction, just imagine that the wild grass of our calligraphy is inferior to the abstract painting of the West. The line calligraphy of Chinese painting cannot be lost with pen and ink, especially for freehand conveyance, which is one of the first; second, the infiltration of rice paper has a magical magic, and that kind of charm is very consistent with the style of Chinese painting. If nothing else, these two points alone are difficult for other paintings to match. In short, Chinese painting is an ideal painting that expresses Chinese their own aesthetic ideals.

The reason why I am not talking about "learning from each other's strong points and complementing each other's weaknesses" is not how bad "making up for shortcomings" is, but how you complement the law. Because the current practice of "making up for shortcomings" is often hindered by "long", or "not in the middle and not in the West", and even exalt themselves is to "not in the middle and not in the West", denouncing Chinese painting as outdated, this theory one-sided pursuit of differentiation, thinking that "new" is good, flaunting "different" is "innovation", casually get a few strokes of Chinese painting big painters. Art is to have depth, height, difficulty, everyone is called an artist, then there is no need to say art does not have to say artist, everyone is with each other. For example, Mr. Lu Xun has acupunctured, and said something "Ah! This kid (here to change to "painting") Oh! And voila! How..." Is art still a temple?

In fact, Mr. Pan Tianshou has long mentioned the idea that Chinese painting should "promote its strengths and avoid its weaknesses", and there have been many wonderful speeches, so it is advisable to quote some revisits here. Mr. Pan said: "I have never been in favor of the path of 'Westernization' of Chinese painting. Chinese painting should develop its own unique achievements and win with its own specialties. He also said, "Some people have proposed adding Western paintings to Chinese paintings." Now some people advocate adding, some people do not advocate adding. On this question, I think on the one hand, we must study it calmly, on the other hand, we must also experiment, the so-called research, that is, from the basic principles of art to measure, solve, to see whether it is consistent with the artistic characteristics of the nation, if there is an improvement in the characteristics of art, then it can be added; if the characteristics of art are reduced, then do not add. If it does not hinder artistry, it can also make artistry more and more enhanced, then it can be added; otherwise, it must be considered. ”

Mr. Pan put forward the "theory of characteristics" as the direction of the development of national painting, and he emphasized that "Chinese painting should have China's unique national style". In fact, Wu Changshuo, Qi Baishi, Huang Binhong and Pan Tianshou, the four masters of Chinese painting in the 20th century, are the most outstanding representatives who maintain the characteristics of Chinese painting through the ancient and modern. Pan Tianshou made a theoretical summary on the basis of the success of his predecessors, and the "characteristic theory" he proposed has now been recognized by most people in the art world as the direction for the development of national painting.

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