Summary:
This paper explores the life, artistic practice, and academic contributions of artist Wang Xuezhong, as well as the theoretical system and contemporary influence of the school of Huangxue that he founded. The article first introduces Wang Xuezhong's background and the formation process of his artistic style, especially his artistic transformation from traditional to modern, as well as his unique achievements in calligraphy and landscape painting. Subsequently, the core concepts of the school are analyzed in detail, especially the philosophical integration and artistic expression of the "Five Elephants", as well as the academic and artistic practice framework of the "Six Studies" and the "Seven Arts".
I. Introduction
Wang Xuezhong, a cross-century artist, has left a strong mark in the history of modern Chinese art with his profound cultural heritage and unique artistic style. Born in Tengzhou, Shandong Province in 1925, he showed a strong interest and talent in art since he was a child, and later studied under many art giants, such as Qiu Shiming, Wu Jingting, Rong Geng, etc., laying a solid foundation for traditional art. In 1945, he entered the Central Academy of Fine Arts from the Beiping National Art School, which further broadened his artistic horizons, not only studying New Year paintings and oil paintings, but also being taught by masters such as Qi Baishi and Huang Binhong, which made his artistic path broader.
Wang Xuezhong's calligraphy skills are profound, and he is especially good at grass, and his style is heroic and endlessly varied; His landscape paintings are even more profound, showing the fusion of profound literati feelings and natural philosophy. In his later years, he regarded himself as a "Huang Weng" and founded the "Huang Xuexue" school, which not only embodies Wang Xuezhong's personal artistic pursuit and academic philosophy, but also is an academic system that deeply excavates and innovates the inheritance of traditional Chinese culture.
The core concept of the school revolves around "one painting, two combinations, three strangeness, four self, five images, six studies, and seven arts", advocating the all-round development of literati painting, emphasizing the internal unity of imagery and brushwork, advocating individuality and artistic spirit that transcends the times, as well as the comprehensive research and practice of multiple art categories. This concept not only deepens the understanding of traditional art, but also provides a new perspective and path for modern art creation.
II. Wang Xuezhong's artistic career and style formation
A. Background
Wang Xuezhong's artistic career began with a profound background, and his early education experience laid a solid foundation for the formation of his future artistic style. During his time at the Beiping National Art School, he was fortunate to study traditional Chinese painting under Qiu Shiming, whose rigorous academic attitude and profound traditional brush and ink skills had a profound impact on Wang Xuezhong, laying a solid foundation in the field of traditional painting.
Wu Jingting taught Wang Xuezhong his exquisite landscape painting skills, allowing him to understand the mystery of the creation of "artistic conception" in landscape painting, and this aesthetic pursuit of focusing on the harmony and unity of emotion and nature was fully demonstrated in Wang Xuezhong's later works. In addition, Professor Rong Geng's knowledge of epigraphy and paleography not only enriched Wang Xuezhong's cultural literacy, but also injected profound cultural heritage into his calligraphy and painting art, making his works more academic value and historical thickness in addition to formal beauty.
B. Artistic Transformation and Maturity
The path of study from the National Art School in Peking to the Central Academy of Fine Arts was a watershed in the transformation and maturity of Wang Xuezhong's artistic style. At the Central Academy of Fine Arts, he not only received a more systematic and comprehensive art education, but also achieved a breakthrough and innovation in his personal artistic language under the guidance of art giants such as Qi Baishi and Huang Binhong.
Qi Baishi's "beauty lies in the similarity and dissimilarity" influenced his pursuit of artistic expression, prompting him to find a balance between tradition and modernity, forming an artistic style that has both traditional charm and a sense of the times. Huang Binhong's theory and practice of landscape painting, especially his exploration of the "black dense and heavy" style, inspired Wang Xuezhong's in-depth thinking on the layering and spatial treatment of brush and ink in the creation of landscape painting, making his works present the characteristics of rich and far-reaching artistic conception. During this period of study and practice, Wang Xuezhong's artistic skills not only matured, but more importantly, he began to form and establish his own unique artistic concepts and creative style.
C. Achievements in calligraphy and painting
In the field of calligraphy, Wang Xuezhong is best known for his cursive writing. His cursive writing is strong, not only has the frankness of the Wei and Jin dynasties, but also integrates the calm atmosphere of the Tang and Song dynasties, forming a unique style that is both simple and flexible. Wang Xuezhong emphasizes that "the intention is the pen first" in his writing, and each stroke is full of emotion and philosophy, so that in addition to the visual impact, the work also contains profound cultural connotations and strong humanistic spirit.
In landscape painting, Wang Xuezhong's achievements are also remarkable. His landscape paintings are often strangely composed, dripping with brush and ink, and he is good at using the techniques of "blank space" and "broken ink" to create an ethereal realm that is beyond the world. Wang Xuezhong's landscapes not only depict the beauty of nature, but also convey his profound thoughts on the universe, life and the philosophy of art. The mountains and rivers he paints are not only a reflection of the external world, but also an expression of inner emotions and philosophical interests, embodying the oriental aesthetic ideal of "the unity of heaven and man".
Wang Xuezhong's artistic creations, whether calligraphy or painting, are deeply rooted in the soil of traditional Chinese culture, and at the same time, he has the courage to innovate, showing a distinctive personal style and the characteristics of the times, and has made important contributions to the development of modern Chinese art.
III. The philosophical and aesthetic foundations of the school of deanism
A. The Literati Painting Tradition and the Theory of "One Painting".
Rooted in the profound tradition of literati painting, this tradition emphasizes the artist's academic cultivation and the expression of personal feelings, and integrates poetry, calligraphy, painting, and printing to form a unique artistic style. In the study of the Literati, literati painting is not only the inheritance of techniques, but also the carrier of philosophical and aesthetic concepts. The theory of "one painting", derived from Shi Tao's "one painting theory", has been given a new interpretation in the study of painting, which emphasizes that the creation of calligraphy and painting should originate from the source of the heart, and every stroke is the expression of the heart, and the pursuit of the purity and naturalness of artistic creation.
Wang Xuezhong and his members of the school pursued "wild beauty" through the in-depth practice of the theory of "one painting", that is, they sought an artistic conception that transcended the mundane and returned to nature in the brush and ink, reflecting the detachment and free spirit of the literati.
B. "Erhe": An aesthetic exploration of the unity of imagery
The concept of "Erhe" is one of the core of the aesthetic exploration of Huangxue, which refers to the integration of calligraphy and painting in imagery, as well as the inner unity of art and philosophy. In the school of calligraphy, calligraphy is not only the writing of words, but also an important means of conveying personal emotions and philosophical reflections. Wang Xuezhong attaches great importance to the creation of calligraphic imagery, and he believes that brush and ink are not only the expression of form, but also a bridge between the mind and nature, tradition and modernity.
Through the dryness and shade of brushwork, and the sparse and dense emptiness of the knots, the artist is able to transform abstract philosophies into intuitive visual images, and realize the perfect combination of imagery and imagery. This aesthetic exploration makes Huang Xue's calligraphy and painting works full of profound philosophical meanings, and the viewer can feel the profound ideas contained in them while appreciating the beauty of art.
C. "Three Monsters" to "Four I": Individuality and the Spirit of the Times
"Three Eccentrics" is a concept in the aesthetic system of Tuoxue, which represents a breakthrough and rebellion against traditional aesthetic norms, and encourages artists to pursue personalized expression and be eclectic. It advocates the courage to innovate in artistic practice, and the courage to show the "weirdness" that is different from ordinary people, which is not unprincipled and unconventional, but the release of individuality based on profound tradition.
On this basis, Wang Xuezhong further put forward the theory of "four mes", namely "childlike me", "literary me", "poetic me" and "ingenuity me", which represent the artist's innocence, cultural cultivation, poetic feelings and exquisite skills, and constitute the core pillars of the artist's spiritual world.
Through the nourishment of the "Four I" spirit, artists can constantly transcend themselves in their creations and reach a higher level of art and life. This theory encourages artists to continue to explore themselves and express their personal emotions and opinions on the basis of inheriting traditions, so as to promote the development of artistic creation in a more diversified and in-depth direction, reflecting the distinctive spirit of the times and cultural responsibility of the school of Huangxue.
IV. Five Elephants: Philosophical Fusion and Artistic Expression
A. Analysis of the concept of the five elephants
"Five Images" is a core aesthetic concept proposed by Wang Xuezhong in the Huangxue School, which profoundly integrates the philosophies of Buddhism, Taoism and Confucianism in traditional Chinese culture, including "appearance", "image", "meteorology", "emptiness" and "color". This theory not only enriches the expressive language of art, but also deepens the cultural and philosophical connotations of artworks.
Appearance refers to the external form of things directly presented to the senses, which corresponds to the Confucian concept of "learning from things", emphasizing the fine observation and true description of the objective world, and embodying the Confucian philosophical attitude of paying attention to reality and the real world.
Imagery, on the other hand, is more profound, involving the projection of the artist's inner emotions and subjective understanding, which is in line with the Taoist spirit of "heart fasting" and "sitting and forgetting", emphasizing the harmony and unity of mind and nature through artistic creation.
Meteorology, which refers to the overall atmosphere and spiritual temperament revealed in the work, integrates the philosophies of Buddhism and Taoism about the interconnectedness and change of all things in the universe, and shows the inner vitality of the work beyond form and the universal laws between the universe.
Emptiness is an aesthetic concept based on the Buddhist concept of "emptiness", emphasizing the dialectical relationship between emptiness and reality in art, guiding the viewer to transcend the appearance, enter a broader spiritual space, and experience the beauty of the ethereal.
Color image is not a simple color depiction, but an aesthetic expression that transcends physical color, which not only contains the harmony of Confucianism, but also integrates the Taoist concept of natural color and the splendor of Buddhism, reflecting the philosophical meaning and emotional depth carried by color in art.
Through these five dimensions, he constructs a comprehensive and profound framework of artistic expression, making the artwork not only limited to the visual level of aesthetics, but also a medium for conveying philosophical ideas and spiritual pursuits.
B. The application of the five elephants in artistic creation
In his artistic practice, Wang Xuezhong skillfully integrates the theory of "five images" into painting, calligraphy and other fields, so that his works present rich and profound philosophical connotations and aesthetic values. For example, in landscape paintings, there are not only delicate depictions of mountains and rivers, but also the painter's deep perception of nature and personal emotional sustenance, realizing the realm of the integration of things and self.
In terms of "meteorology", Wang Xuezhong's works often show a grand spirit and far-reaching artistic conception, and through the use of brush and ink, they convey a sense of time and space and a cosmology that transcend the picture itself, so that the viewer can feel an inner power that transcends the material world.
As for the "empty image", he deliberately leaves it blank or outlines it with simple lines in his works, creating an empty and zen-like space, prompting the audience to comprehend the infinite possibilities contained in "emptiness" and the true state of life in silence.
In his works, "color image" is reflected in the exquisite use and transcendence of color, not confined to the true reproduction of natural colors, but in the contrast and harmony of colors, conveying profound emotions and philosophical thoughts, so that the colors of the works are both rich and restrained, and achieve a perfect balance between splendor and blandness.
Through this artistic practice, Wang Xuezhong not only demonstrates his profound philosophical heritage, but also demonstrates his unremitting pursuit of beauty and innovative spirit as an artist, which makes the "Five Images" theory vividly and concretely interpreted in artistic creation, and provides valuable inspiration and contribution to the development of Chinese contemporary art.
V. Six Disciplines and Seven Arts: The Breadth of Academic Systems and Artistic Practices
A. Theoretical framework of the six studies
As an important part of the theoretical system of the school of Juanxue, the "Six Studies" cover the fields of literature, history, philosophy, philology, research and art, and constitute a comprehensive and in-depth academic research framework. This framework is not only the embodiment of Wang Xuezhong's extensive personal knowledge, but also the profound theoretical support of his artistic practice. In the "Six Studies", Sinology is placed in the position of theoretical cornerstone with its rich historical accumulation and cultural connotation, which provides an indispensable ideological source and methodological guidance for other disciplines.
Literature, as a carrier of emotion and wisdom, provides a rich source of inspiration for Wang Xuezhong's artistic creation; Historiography gives his works the depth of time, so that his art can gain life in inheritance and innovation; The integration of philosophical ideas makes Wang Xuezhong's artworks not only a visual enjoyment, but also a medium for philosophical contemplation. The study of philology and evidence studies ensures the accuracy and rigor of his works in terms of cultural expression. The exploration of art is a theoretical summary and improvement of art practice, which provides a systematic theoretical framework for creative practice. These six disciplines are intertwined and mutually supportive, jointly building a solid academic foundation for the school and opening up a broad path for Wang Xuezhong's artistic exploration.
B. Comprehensive practice of the Seven Arts
Wang Xuezhong's artistic practice spans painting, calligraphy, sculpture, seal carving, poetry, music, drama and other fields, forming his unique panorama of "seven arts". Each art form is a way for him to express his thoughts and emotions and explore aesthetic concepts, and they penetrate and achieve each other, and together they build a rich and colorful art world of Wang Xuezhong.
In painting, Wang Xuezhong is based on traditional ink painting and integrates modern elements to create a painting style with a strong personality, and his works are often profound and philosophical. In terms of calligraphy, he is good at a variety of calligraphy styles, with strong pen power, both the legacy of the ancients and the atmosphere of the times, showing a profound traditional foundation and innovative spirit. Sculpture and seal carving are his explorations of three-dimensional space art, through the use of knives and brushes, the words and images are condensed between square inches, giving the works a unique vitality.
Poetry creation is an important way for Wang Xuezhong to express his emotions and philosophical thoughts, and his poems and calligraphy and painting complement each other, jointly building an artistic space full of literati feelings. His involvement in music and theatre has further broadened his artistic boundaries, conveying richer emotions and stories through melodies and performances, showing his extraordinary charm as an all-round artist.
Wang Xuezhong's extensive practice in the "Seven Arts" not only shows the diversity of his personal artistic talents, but more importantly, each art form becomes an intuitive expression of his academic theories, forming a perfect cycle of theory and practice. Through this comprehensive artistic exploration, Wang Xuezhong not only constructed his own unique artistic outlook, but also left a valuable cultural heritage for future generations, profoundly influencing the development direction of modern and contemporary Chinese art.
VI. Conclusion
Wang Xuezhong's educational philosophy has profoundly influenced modern art education, especially in his role in the balance between promoting traditional culture and promoting artistic innovation. The "study of the ancients" advocated by him is not only an academic exploration, but also an educational philosophy, emphasizing "learning from the past without mud the ancient", and encouraging students to be brave in innovation on the basis of in-depth understanding of tradition.
In the contemporary art education system, Wang Xuezhong advocates an education model that emphasizes interdisciplinary learning, advocates the combination of art practice and theoretical learning, and cultivates students' comprehensive literacy and innovation ability. This kind of educational thinking is of inestimable value in guiding students to respect and inherit the essence of national culture, and at the same time explore new artistic paths in the context of globalization. It reminds us that in a rapidly changing world, it is important to dare to break through traditional boundaries and achieve a modern transformation of art while maintaining cultural roots.
Author: Lu Xilin
Bibliography:
Collected Treatises on Anthropology
A Course in the History of Chinese Art
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