Critics must have the vision of artists, and they must also have the temperament of artists who are dusty and sweaty in the great struggle of art. --Tolstoy
Why did the artist take a different path? In the year of the Beijing Olympic Games, he was responsible for designing the Olympic Fuwa, and Han Meilin's name has been known to the public ever since. What does he do? To be responsible for designing such a high-end thing must be a master. Indeed, Han Meilin is an artist who combines painting, calligraphy, and art design, and is also a national first-class artist.
However, over the years, people did not have much good feelings about the works of this master, and people were more dismissive of calligraphy and paintings other than Fuwa.
Some people think that his paintings are like children's graffiti, but the level is not as good as children's; his calligraphy is like a beginner's scribble without understanding calligraphy techniques, and his works are no different from "Heavenly Books"; this level can be rated as a first-class artist, which can only show that the judges have eye diseases.
It is worth saying that the title of art workers engaged in calligraphy, painting, sculpture and other art in our country is artist, which is divided into three levels, namely three levels (primary), second level (intermediate level), first level (advanced level), and no special level. According to the data, as early as 1985, Han Meilin was rated as a national first-class artist.
In fact, it is not surprising that people have a lot of criticism of Han Meilin's artwork, including me.
I remember once a friend took a picture of Han Meilin's chicken to show me, and I asked him with a confused face: Are you sure this is a Han painting? Because I couldn't believe that the childlike work came from the master. "Yes," he said to me, "The PEN will draw on the spot by Mr. Han." ”
I still remember the painting, which was similar in composition to a watercolor drawn by a kindergarten child, and was a foot square in size (about the same as the picture below).
Han Meilin's calligraphy, except for a hotel in Anhui Province, I have seen it through the Internet. One thing is for sure: none of the painting and calligraphy worlds are similar to what he wrote. A work covers a variety of fonts such as seal calligraphy, lishu, and calligraphy, and even writes in the style of seal writing, and cursive in the brushwork of the calligraphy, and the creative technique is unexpected.
It is easy to correct people's mistakes, and it is difficult to praise people's beauty.
At first, I thought that Han Meilin was not worthy of an artist, so I was ready to make a critical article, but at that time I was stumped by a question: Is there anything wrong with his writing style and drawing method? Correcting mistakes to know where the mistakes are, but I can't answer them, and I can't find any rule that says it's not allowed, just like people can emotionally resist the Japanese style street and can't say that it's illegal, and art is a thing that advocates a hundred schools of thought, so the article was not completed.
Later, I changed my previous view of Han Meilin, especially after listening to his artistic views.
"What is art," Han Meilin said, "for example, when painting a horse, you can't paint according to a horse, but you have to have your own opinions, and it has nothing to do with art." "This may make the hyperrealist painter feel uncomfortable, but his artistic views and positions are worth affirming—art should be maverick and pursue individuality, and that's exactly what he does." I think that's the answer to why artists go the other way.
Gorky said: "The spirit of art is to strive to express the proud and beautiful things in your soul with words, colors and sounds. Han Meilin did it, at least he showed what he was proud of and beautiful in his heart, even if many people dismissed it.
I say this, if you think my aesthetic is inferior, it is inferior, because I do not have the vision of an artist and the temperament of an artist, as Tolstoy said.