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The Ice and Snow Painting School is a new school of Chinese painting created in the 1980s by Mr. Yu Zhixue, the founder of Ice and Snow Landscape Painting. Its academic philosophy is that 'inheritance is not repetition, everything is in creation'. The Ice and Snow Painting School radiates to the three eastern provinces and the whole country with Heilongjiang painters as the source, with the goal of creating a "cold culture" aesthetic system, with the "beauty of cold escape" as the aesthetic core, with the original and unique alum ink language and techniques as the main art forms and means, and the expression of ice and snow themes and the image of "cold culture" as the image of the painter cluster. The Ice and Snow Painting School has five main characteristics: 1. It has its own distinct "cold culture" art theory system and unique aesthetic propositions; 2. It has its own original and independent painting language system---- - the ice and snow painting founder Yu Zhixue; 3. It has its own declaration, emblem, and song; 4. It has the regional limitations beyond the usual painting school and is spread throughout the northeast, northwest, central plains, southwest, southeast and other regions of China; 5. It has its own original and independent painting language system - the alum ink language of ice and snow painting, which takes the expression of ice and snow painting as the main body. It can be extended to express all the objects that ink can express.
The ice and snow painting school formed in the alpine frontier is inseparable from the footprints of a generation of pioneers, who have made indelible contributions to the birth and development of the ice and snow painting school. Since its inception, under the leadership and dissemination of Yu Zhixue, Han Futian, Jiang Enli, Zhou Zuncheng and others, ice and snow paintings have continued to grow in Linkou and Bei'an, and then Harbin City, Qitaihe City, Jixi City, Mudanjiang City, and Zhaodong County in Heilongjiang Province have also had ice and snow landscape painting creative groups. After several years of hard work, the techniques of ice and snow painting have become more and more mature. Linkou County, Bei'an City, Zhaodong County, and Harbin have successively established the Ice and Snow Painting Research Association.
The ice and snow school can be born on the black land, which is determined by its unique historical origins, regional environment and the needs of the times.
Located in the northeast of the border of the motherland, it is the northernmost region in the vast territory of the motherland, especially the heilongjiang in the northeast, located in the alpine zone outside Cyprus, with an ice age of up to 5 to 6 months a year, and is affected by the cold climate of Siberia, which is extremely cold, remote, isolated, and a large area of land before liberation is deserted, which is known as the "Northern Wilderness". In such a barren land, the accumulation of Han cultural traditions is relatively weak, and the development of literature and art outside The Seychelles has been in two unbalanced situations since ancient times. The development of literature is composed of the literary creations carried out by Han immigrants and cultural streamers in Guannei and the oral literature such as myths and legends, folk tales and singing songs of various ethnic minorities outside Serbia.
The earliest literary creations seen in written records and have a certain influence in literary history are the poems of Bohai poets Yang Taishi, Wang Xiaolian, and Wu Zhaoqian, the "cultural streamer" of the Qing Dynasty. In the Qing Dynasty, some officials and literati of the Qing Dynasty appeared outside the country, creating the literature of "rogue people". In the oral literature of the various ethnic groups outside Serbia, the number of ethnic minorities is greater than that of the Han folk culture, with a strong atmosphere of recklessness and mysterious religious overtones, as well as national styles and local characteristics that should not be confused. The art history of Heilongjiang, which is the same historical period, is much poorer than the history of Heilongjiang literature, and there is no historical record.
The development of Heilongjiang art is also divided into two parts, one is the colonial culture of the imperialist powers linked with national disasters and honor and disgrace, and the other is the various forms of folk art formed by various ethnic minorities in Heilongjiang. Since 1897, the Imperial Russian Empire forcibly built the Middle East Railway in the northeast, the Songhua River began to sail, the White Russian Tsar used the northeast as the main port of invasion of China, and the northeast became an important hub connecting the Pacific Ocean and the Atlantic Continental Bridge. Western culture, Eurasian culture, especially Russian culture, gradually poured into the outside world. From the availability of European architecture, from ancient Greece and Rome to Persia, Byzantium, the medieval Renaissance, the architecture of the Art Nouveau genre in the 19th century, and the influx of Russian and Western painting, the art outside the Cypriot at that time was in line with the style of the border city rich in "Little Paris of the East" at that time. As the international popularity of the outside world gradually increased, Japan also regarded the outside world as a coveted target, and japan and Russia competed for hegemony in the northeast. After tohoku became a Japanese colony, he forcibly instilled "Oriental culture" and not only established the "Manchurian Film Association" to produce "Enlightening Films" that served the war of aggression, but also promoted Oriental painting. During this period, the art stage outside Serbia was dominated by Oriental colonial culture.
After the "918" incident, the history of Saiwai literature formed a group of northeastern writers represented by Xiao Jun and Xiao Hong, and the literature of the occupied areas represented by Jin Jianxiao and Liang Dingshan. They created works in the social context of reflecting the national peril under the iron heel of the Japanese and the Kosovars and the people's fiery life, which caused a sensation in the Chinese literary scene at that time. Jin Jianxiao, as a revolutionary literary and art pioneer fighter in the art circles outside Serbia at the same time, carried out revolutionary literary and artistic dissemination work in the "Great Northern New Newspaper Pictorial", and together with Xiao Jun and Xiao Hong, held the "Venus Aid Painting Exhibition" to express workers, peasants and fishermen, and created the painting style of national painting outside Serbia.
After the 1940s, there were more influential painters outside Saiwai, such as Wang Weigen, Guo Weifen, Li Junbai, Wu Zhendong, Gao Mang, etc., who were the first awakening of the regional consciousness of artists outside Saiwai, and they were determined to create a northern painting style to express the magnificent scenery of the north. Whether it is Wang Weigen's landscape paintings or Guo Weifen's flower and bird paintings, they have made considerable efforts, but they have not found an artistic vocabulary that expresses the north. After the founding of New China, the cultural undertakings of the motherland have developed by leaps and bounds, but due to the historical and natural conditions outside the Country, the development of Chinese painting is still at a disadvantage, and it can only meet the identity and needs of the local society with the help of the painting styles of the deep southern culture and the Central Plains culture.
After the 1950s, the first batch of college students from art academies trained by New China settled in the north and a large number of intellectuals from the south went north, spreading the culture of the south and the central plains to the north, so that the culture outside the Country gradually began to become active, bringing vitality to the cause of art in Heilongjiang. The second awakening of the regional consciousness of northern artists, they are deeply depressed by the lack of unique artistic styles of Han culture outside Serbia, they are not willing to be dominated by the history of foreign colonial culture outside Serbia, they are eager to revive traditional Han culture in the northern land, and they are not willing to stick to the shackles of old culture and foreign cultures. Therefore, the only way out is to find a painting means and language that expresses the characteristics and spirit of the black soil, and fundamentally changes the artistic tendency and pattern of the history of chongnan and debasement of the north, and the typical representative painter of this period is Wang Xianpu. He devoted his life to the exploration of the spirit and style of northern painting, but he never solved this problem in his life and regretted it.
In the 1960s, the regional consciousness of Northeastern painters awakened for the third time, and it was necessary to create a Northeastern painting style. The three eastern provinces jointly invited eight famous Chinese painters from the Jiangsu Academy of Painting, including Fu Baoshi and Wu Linsheng, to sketch in northeast China, hoping to find new vitality for the creation of northern painting through the strong and long-standing traditional painting in the south. Facing the vast and flat horizon of the northeast and the straight brushed woods, most of the southern painters who came by the excitement were discouraged, believing that the northeast plain was not included in the painting, only Fu Baoshi created the famous "Jingpo Waterfall", but there was still the shadow of southern painting. The ambition to create northern painting with traditional painting was once again frustrated. In the face of many difficulties and challenges, Yu Zhixue, who lived in his northern homeland, did not waver, and the influence of regional customs and the enlightenment of Chinese and foreign art made him trigger a cultural consciousness from regional consciousness, which strengthened him to break through the shackles and shackles of the old concept of attack, break people's long-term aesthetic cognition of Saiwai, and establish an artistic style with independent northern cultural personality.
In the face of various blows and heavy pressures, Mr. Yu Zhixue has been unremittingly persistent and exploring since the 1960s, and has achieved initial results. After a long period of bitterness and waiting for the "Cultural Revolution", as soon as the "Cultural Revolution" was "thawed" to correct the chaos, this fiery passion broke out unstoppably. As a result, the ice and snow landscape painting pioneered by Yu Zhixue, which is characterized by the expression of the northern region, broke through the ground. As soon as the ice and snow landscape painting appeared, its refreshing unique painting style and majestic northern atmosphere immediately attracted the attention of the society, and spontaneously emerged a group of artists and followers who studied ice and snow landscape painting, resulting in a group of painters centered on the creation of ice and snow landscape painting. This is the long-standing wait of northern painters who have been wandering and sullen for too long; it is the dawn of their search for a hope to express the subject matter of the north; it is a window for the sudden catharsis of the accumulated grievances that have been suppressed for many years; it is the unanimous resonance and call for their desire to improve themselves and create a black earth painting style. As a result, more than 100 creators of ice and snow landscape paintings sprang up in the three eastern provinces dominated by Heilongjiang and all over the country, setting off a wave of enthusiasm for learning to paint ice and snow. Under the care of relevant organizations and departments in various places, the ice and snow heat movement has been healthy development, and four ice and snow landscape painting research branches have been established in Heilongjiang Province, and the northern ice and snow painting school has begun to take shape.
The history of the development of an art genre is actually the history of self-shaping and self-improvement of an art group. The development of the Ice and Snow School in the 1980s depended on the natural geography and cultural traditions as well as the social era environment and the world culture. Regional characteristics, innovative spirit and aesthetic orientation are the main fulcrums for the existence and development of the ice and snow painting school, and all the efforts of the ice and snow painting school are carried out around these three aspects. Under this dominant idea, the biggest contribution made by the Ice and Snow School to the northern culture is to set off a boom in the northern half of the cold zone culture. Ice and snow landscape painting has driven the development of ice and snow culture in the north, promoted and promoted the development of sister culture and art such as music, photography and other disciplines of fine arts, emerged the song "Snow in the North of Sai" and a number of excellent photographic works showing ice and snow themes, printmaking, oil painting, watercolor painting and other paintings have also appeared unprecedented enthusiasm for the expression of ice and snow themes, ice and snow landscape painting has become an indispensable cultural phenomenon in the north.
As a group phenomenon of artistic creation, the Ice and Snow School has the following five characteristics:
Regionality
The emergence and development of any art is inseparable from the conditions of the times, society, nationalities and regions. No matter how the art created by a nation living in a common region is affected by foreign cultures, it must reflect works with national soul, national characteristics and regional traces, and thus show the artistic style and cultural personality of the region. This is due to the fact that the artist's life experience and aesthetic psychology are the same as those of artists living in the common area, determined by specific historical and economic factors and customs and human feelings. The Ice and Snow School has both regional characteristics and supra-regional factors. From a historical point of view, there are many painting schools named after regions, but the ice and snow painting school is different from the general regional painting school, and its subject matter itself covers a large area, so it can break the regional limitations with its unique significance, which is why the members of the ice and snow painting school can spread all over the country. Painters in various regions are facing different natural ice and snow landscapes, which is a vast world with great achievements, so although they all use ice and snow as a carrier, they can express the differences in the mood and feelings of painters. Yu Zhixue's northern scenery and Huangshan ice and snow are one feature, and Wang Junbing's Tianshan ice and snow is another style. The unique regional characteristics are one of the basic characteristics of realist art, and it is also the most prominent artistic feature of the ice and snow painting school. No matter where the authors come from, they express a unique ice spirit and world.
consistency
The formation of the creative group of ice and snow art is the basis for the development of the ice and snow painting school, and these authors mainly come from the northeast, especially from various regions of Heilongjiang and the three eastern provinces. Throughout the ages, the cultural strength of the three eastern provinces has been weak in history, which has made most painters in the northeast have a psychological pressure. Everyone wants to make their own contributions to the cause of Chinese painting, and they all want to push the momentum of the northeast and the style of the northeast to the forefront of Chinese painting creation, and show the particularity and richness of the regional culture of the northeast creative group in the contemporary Chinese painting world. Before forming an artistic situation that is in line with the development of local culture, it is difficult for everyone to accurately grasp the position and role of their own development, so they have to focus this pressure more on self-compassion for tradition. When the doubtful and wandering Kanto painters once found the important artistic resource subject of ice and snow, they invariably received the approval of their peers. If the people of Northeast China want to inject new vitality into Chinese painting with the rough and masculine painting style of Northeast China, they must have the same goal to pursue. Therefore, most of the members of the Ice and Snow Painting School from the Kanto have a consensus: how big the uncultivated land in the northeast is, how much space history has left for the future, and how much hope there is for success. The northeast is magnificent and profound, as a northeasterner has the responsibility to contribute their wisdom and talents to the formation of the northeast painting style, for the benefit of future generations, so as to truly form a regional painting school with the balanced development of southern culture; and as a member of the ice and snow painting school in other regions outside the northeast, they use the language of ice and snow to express the snow scenery of the south because they have a unique love for ice and snow. Whether it is Heihe in heilongjiang province in the far north, Wu Guoyan in Bei'an, Li Zhendong and Chen Yufei or Yang Dongping in Fuzhou, Fujian province in the southernmost part, they are all working hard to pursue the aesthetic realm of ice and snow.
Pioneering
The Ice and Snow Painting School was born in the social context of the collision of Chinese and Western cultures after the reform and opening up in the 1980s, and is the product of reform and opening up and the inevitability of the times. Because it is not to express the style and state of ice and snow in northern Xinjiang according to the traditional methods of more than a thousand years, but a successful attempt to transform the traditional form into a modern environment.
In the early 1980s, it was a period when Chinese painters who had just opened up suddenly accepted a large number of new concepts and styles of modern art from the West, comparing and reflecting on traditional Chinese culture with Western modern culture. Most of the members of the Ice and Snow Painting School are young and middle-aged, they are quick in thinking and quick to accept new things, so they are more likely to accept the ice and snow landscape paintings that are completely new in their creative mentality, and on this basis, they continue to develop and develop, maintain a strong creative enthusiasm and creative vitality, and begin to show a special style. Zhou Zunsheng skillfully transformed traditional brush and ink into ice and snow language, Wang Junbing emphasized the writing of Chinese painting with ice and snow language; Guan Qiang pursued modern formal composition; Xu Juguo, Chen Yufei, and Li Zhendong borrowed the language of printmaking to make the picture more simple; Ding Fuhua consciously transformed the ice and snow language into abstract structures; Wang Weihua, Gao Fengshan, and others looked for subtle changes in "white". Although some works are not mature enough, they have shown that these young and middle-aged painters should distance themselves from the leaders.
Commonality
After 20 years of hard work, Yu Zhiyu made this new style of ice and snow landscape painting come out in the late 1970s. For a considerable period of time, ice and snow landscape painting was to solve the problem of the language of new brush and ink techniques that the tradition did not have, that is, to solve the problem of ice and snow objects that could not be expressed by tradition. The artistic language of ice and snow landscape painting is summarized and refined according to years of artistic practice, which not only reflects the tradition, but also reflects the modernity; it is both readable and acceptable, and it is also universal and operable, and after years of hard work, it has formed a set of its own artistic programs, which has become the language of the ice and snow painting school and its own "tradition". The continuous renewal, change and establishment of the painting language is the enduring charm of Chinese painting for thousands of years, and all the academic disputes about the core of Chinese painting, the value of existence and the spirit of ontology and the inheritance relationship with tradition, as well as the academic struggle to absorb advanced artistic nutrients, and the values of Chinese painting will eventually be implemented in the exploration of the artistic language of Chinese painting, which is the main ideological root of the Ice and Snow Painting School's emphasis on the exploration of painting language. Firmly grasping this substantive issue is not only to maintain the spirit of traditional Chinese painting, to continue the Chinese painting created by foreign teachers, but also to break through the traditional barriers, break through the traditional language symbols, and use the new tradition of ice and snow painting to create works of art that reflect the characteristics of the painting of the times.
On the basis of this basic painting technique and means, the members of the Ice and Snow School carry out colorful creations of themes and contents, expressing various aesthetic pursuits and artistic tastes, pen and ink forms. It not only fully demonstrates the artistic personality among the members of the painting school, but also reflects the overall commonality of the painting school. It is also a representation of the ice and snow world, and the variation of painting methods is manifested in the shape, structure and style of pen and ink and charm pursuit of the work. Zhou Zuncheng expanded the use of ice and snow landscape painting to figure painting, trying to express a humanistic feeling; Yang Dongping, Wang Yuyan, Wang Limin, Zheng Shenglu, Bi Keqin and others integrated the ice and snow landscape painting techniques into traditional painting, connecting the traditional context with the brush and ink of ice and snow; Jiang Enli expressed the urban ice and snow scenery from the mid-1980s onwards, reflecting that ice and snow landscape painting was also integrated into the urban painting context that began at the end of the twentieth century; The ice and snow flowers and birds expressed by Lv Dawei and Wang Jianzhong. On the basis of inheriting ice and snow landscape painting, the pursuit of pen and ink interest and charm. The creative team led by the backbone of these ice and snow painting schools has enabled the painting style and characteristics of the painting school to be displayed in many ways, reflecting modern emotions and pursuits. Throughout the development and changes of the Ice and Snow School in the past twenty years, there are not only the strengthening of the overall style of the painting school group, but also the changes in the personality characteristics of the publicity and prominence, but on the whole, the independent painting style of the painting school is still lost, and the distinctive independent characteristics of the painting school are maintained. Therefore, it is often said that when you look at the works, you know that it is the ice and snow painting school.
Distinctiveness
The unique artistic characteristics of the Ice and Snow School are inseparable from its distinct academic ideas and artistic propositions.
(1) South black and north white
Thousands of years of traditional Chinese painting, from the formal point of view, is an ink-based art style, and from the perspective of scope, it is a painting subject that expresses Jiangnan and the Central Plains. Painting in the south can be expressed by a variety of colors dominated by ink, while the most prominent feature of the north is in winter, which is expressed through the expression of white. Therefore, the artistic feeling given by north and south painting is "south black and north white". The artistic proposition of the "South Black, North white" of the Ice and Snow Painting School laid the theoretical foundation and artistic paradigm of the black and white system of Chinese painting, added new factors to the development of Chinese painting from theory to practice, and opened up a new field of expression for Chinese painting.
(2) The beauty of coldness
The ice and snow painting school expresses the inherent ice and snow themes in the north and is a frozen soil culture. The painter who has lived in the north for many years has deeply realized that the relationship between the northern man and the ice and snow nature is not opposed, but harmoniously integrated. Under the tempering of nature, northerners have the inherent aesthetic concepts of northerners. As a cold culture, northern culture is obviously inseparable from the theme and aesthetic content of "cold". "Cold" has a great role in purifying the mind, storing life, solidifying the hustle and bustle, and sublimating the spirit. The artistic character of Chinese landscape painting itself is Yige, and the combination of this "Yi" and the "rhyme" of Chinese painting produces the greatest aesthetic taste of Chinese painting, "Yiqi". This kind of escape is fused with the "cold" in ice and snow landscape painting, which constitutes a new aesthetic connotation of Chinese painting - the beauty of coldness. Ice and snow landscape painting with "cold escape" as the core of ice and snow aesthetics is a new cognition and sublimation of traditional painting expressed through the new oriental aesthetic concept, a high promotion and exploration of the deep aesthetic orientation of the cold zone culture, the embodiment of the idea of the unity of nature and man, and an infinite and vast space that can continue to expand. This "cold beauty" excludes the restlessness and uneasiness brought by complicated colors, and reflects the simple and self-preserving, ethereal and sparse life realm of northern artists.
(3) Ink has rhyme, white has light
The Ice and Snow Painting School was born on the basis of breaking through the traditional mindset, and thus produced the system of Chinese white painting. Looking at the core of the aesthetic connotation of black and white in Chinese painting, it is another brand new aesthetic concept proposed by the Ice and Snow Painting School: "Ink has rhyme, white has light". Ink rhyme is the aesthetic subject of the system of Chinese painting black, and white light is the aesthetic intrinsic of the system of Chinese painting white. The use of brush and ink to produce ink rhyme constitutes the first and second aesthetic connotations of Chinese painting; the use of light constitutes the third aesthetic connotation of Chinese painting. Because of the existence of ink rhyme, Chinese painting has the mystery and mystery of using pen and ink, and because of the existence of light, Chinese painting has a new expressive space and vitality.
(4) Cold culture
China has a long history, a vast territory, rivers, lakes and alpine plains divide China into different natural regions, the huge contrast between the geographical and natural conditions of the north and the south and the historical evolution and other social factors, for a long time formed a different cultural characteristics and aesthetic differences, Yu Zhixue summed up the cultural phenomenon representing the cold characteristics as "cold culture", which is to transform the feeling of climate into a cultural feeling. Cold culture is characterized by rough, flood, unrestrained, heroic, ice and snow painting has typical cold cultural characteristics, it pursues the magnificent beauty of the ice and snow world, rough beauty and sublime beauty of the aesthetic realm.
At the time of twenty years, the ice and snow painting school has undergone tests in the process of establishment, hesitation, growth and development, and still has tenacious vitality and cohesion, which is undoubtedly the need of the times, the recognition of the style of ice and snow painting in society, and a cultural phenomenon that cannot be ignored. It is in the context of this social environment that the Ice and Snow Painting School has been able to survive. Although we put the ice and snow painting school in a broad historical and cultural background and the overall artistic pattern of national art to be demonstrated and examined, we will find that it as a regionally formed art school, compared with other influential art schools in China, there are still quite a lot of weaknesses, the structure of the school of painting still needs to be further improved and improved, and it is faced with a more profound problem of how to show the spirituality of the ice and snow world after completing the speech for the ice and snow of the northern country. Therefore, the ice and snow painting school is not only a product of regional culture but also a part of global culture, and it is necessary to continue to build an ice and snow painting school from the perspective of deepening culture. This task is quite daunting and requires the efforts of generations of predecessors and successors. Under the unprecedented excellent situation of Chinese painting, the Ice and Snow Painting School will make unremitting efforts to meet the choice of future history and greet the more brilliant tomorrow of Chinese painting.
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