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The creation of my "White Landscape" series is actually a continuation of the "Ambiguity" series and the "Walking in the Clouds" series. The formation of art forms and styles requires the continuous accumulation of artistic creation, and the freedom of creation after a certain period of "epiphany". Chinese painting talks about "ink is divided into five colors", Chinese literati painting reached its peak in the Yuan Dynasty, and I also did some research on the works of Huang Gongwang and Ni Zan in the Yuan Dynasty, using the white pigment of oil painting, as "ink" to use, to experience the ancients said that "knowing the white and keeping the white" point of view, and in the process of creation to complete the "image to the fullest". In addition, after the completion of "Ambiguity" and "Walking in the Clouds", the creation of "White Landscape", I personally want to get rid of the shackles of modern painting, make a breakthrough in the art form, and try to enter the artistic context of contemporary painting.
From the inheritance of artistic ideas and art forms, I chose the philosophical ideas of ancient Chinese literati painting, and Ni Zan of the Yuan Dynasty said that Chinese painting "is based on Confucianism, according to Taoism, and escapes from Zen", Confucianism is the foundation, Confucianism, Taoism, and Zen converge in one, achieving "both god and form". Contemporary painting, on the other hand, is often associated with fashion, concept, and simple abstraction. Using the thinking of Chinese painting and the ontology of oil painting language to complete a formal language of contemporary painting, whether it is possible to complete a formal language of contemporary painting is the direction that I am constantly exploring. The thickness of the work, which the ancients said was "durable", comes from the accumulation of the artist's personal artistic experience and the accumulation of national culture, and is also a continuation of the ancients' idea of "seven points of reading, three points of painting".
It is often said that art is a reflection of life. However, the concept of "reflection" is not just a faithful copy of life, it is too simple. Art itself is characterized by the expression of the artist's subjective emotions. "Reflection" is caused by life, and it is an artist's cognitive and emotional attitude towards life. The other is the issue of "social psychology", which includes the ideals, beliefs, emotional states, and aesthetic fashions that people pursue from the perspective of art.
Painters paint, always touch the scene, have a feeling, and then the form of the brush and ink, Gu Kaizhi called "the imagination wonderful", the so-called "imagination" can be understood as "image thinking", and "wonderful" is through thinking, condensed into the artistic image to be expressed. Jing Hao's "writing ten thousand books in Honggu Mountain is the only way to get the truth", which is an example of ancient landscape painters refining typical images in nature. In the Tang Dynasty, Zhang Yan's "Outer Teacher Creates Nature, Zhongde Heart Source" annotated "Wonderful Imagination" and pointed out the correct method of creative conception. With the rapid development of the mainland economy, the development of Chinese art has entered a period of change and innovation, just as the establishment of capitalist production relations directly affected the emergence and development of Western Renaissance art. We have new aesthetic requirements for Chinese art, and we must think about these issues.
In the theory of modern Western painting, the question of "representation" and "representation" is constantly discussed, but in fact, representation and expression are dialectically interpenetrating. There is no representation without representation, and there is no representation without representation, and there is often an emphasis in different eras and different artists. Shi Tao's "Quotations on Painting" has a more profound dialectical thought. "Quotations on Painting" focuses on the relationship between art and life, and Shi Tao believes that painting is a complete process of image creation, with its free side and its unfree side. He proposed that "living a life of nurturing" refers to the unity of people's knowledge, cultivation, thoughts, and feelings. Believing that one thing must be connected with another, and that one of them must be dominant, painting has various techniques and forms of expression, and the dominant one is "nurturing life".
For example, the painting theory of the Song Dynasty in mainland China was mostly put forward for the purpose of developing literati paintings corresponding to the courtyard paintings at that time, and was inseparable from the emergence and development of new art works. If there was no literati painting in the Song Dynasty, it would be difficult for the Song Dynasty painting theory to have a new development beyond the previous generation. The so-called new here is not only a question of form, but first of all a question of content. From the perspective of the development of human history, China is entering a new era, and the real new art should be ours, not the West, and we should make new creations beyond the West, and create new Chinese paintings in the new era and new fashion.
(Text/Liu Chunbing)
(Source: Young Artists of Dangyi)
Artist Profile
Liu Chunbing, born in 1963, is a Chinese painter, a member of the Communist Party of China, a consultant of the Hubei Artists Association, a professor and master's tutor of Hubei Academy of Fine Arts, and a chief professor of the School of Art and Design of Wuhan University of Science and Technology. The founder and president of Wuhan Chao Toy Design and Research Institute is a pioneering and far-reaching artist in the Chinese contemporary art scene, and one of China's artistic geniuses in the 21st century.
Award-winning entries:
In 2009, he won the bronze medal in the 11th Hubei Provincial Art Exhibition;
2008 Academic Award of Weiye Remembering Hubei Provincial Figure Painting Exhibition (Wuhan);
2004 The 10th Hubei Provincial Art Exhibition, Excellence Award, Excellence Award (Hubei);
2003 Hubei Province Small Chinese Painting Exhibition (Hubei), Academic Award;
2002 Yanzuo Speech 60th Anniversary National Art Exhibition (Hubei), Excellence Award;
1996 China Youth Chinese Painting Exhibition (Shandong), Excellence Award;
1992 National Defense Cup Calligraphy and Painting Exhibition (National Art Museum of China), Bronze Award;