Golden Autumn October
Spring and autumn fruits
At 3:00 p.m. on October 24th, the opening ceremony of the Art Museum was grandly opened in Chengdu Nongyuan International Art Village.
The art museum was inaugurated in Chengdu, and art lovers from all walks of life flocked to the museum, and the viewers stopped in front of these fine works of art, communicated with their hearts, and lit up their lives with top artists.
Heaven and earth have great beauty without words, and art acts with great beauty. Artist Lin Yue has been in the art for decades, after years of precipitation, has always been a pious heart for art like a pilgrim on the peak of art, and now he is half a hundred years old and is committed to creating a professional and international art platform for art lovers, collectors and artists.
Lin Yue said:
"I think that art and life are separated from the distance of an art museum, the public aesthetic needs to be guided, and to be a private art museum is to do cultural influence and build a cultural bridge between art and the public." At my age, there is no strong personal intention and purpose in doing things, the wind has passed without a trace, and it does not matter whether it can leave a mark or not, but whether it is beneficial to a city culture or not I value it. I hope that they can serve as a platform for improving the public's cultural and artistic attainments, assisting in art education, and providing exchanges for artists' creative activities. I want to work with artists to share the passion and creativity that art brings and inspire us to experience life. Hope Art Museum builds a platform full of cultural impetus and artistic creativity for the city of Chengdu. ”
Wu Weishan, director of the National Art Museum of China, wrote an inscription for the "Jiao Art Museum" and sent a congratulatory message:
Mr. Lin Yue: I am glad to hear that the museum has opened, which is a grand event that benefits the prosperity of contemporary culture. You have made outstanding achievements in art, you have held solo exhibitions at the National Art Museum of China, which has produced a good response, and today you are in Sichuan, a fertile land with deep traditions and contemporary innovation, to devote yourself to public cultural undertakings, to beautify and educate the public, I congratulate you on behalf of the National Art Museum of China and the Professional Committee of the Art Museum Of the China Association, let us jointly create the cause of beauty in the great new era.
——Wu Weishan October 23, 2021
<h1 class="pgc-h-arrow-right" data-track="33" > the most beautiful Tibetan mastiff in the world</h1>
Since the 1980s, Lin Yue has set foot on the Qinghai-Tibet Plateau and used portraits to express the unique temperament of Tibetan mastiffs. In the past ten years, he has created very rich and profound works of art that reflect the life of Tibetan mastiffs, and has also been called "the first Chinese Tibetan mastiff painter".
His works not only embody the core value of the contemporary era, loyalty; at the same time, reflect his care for life - love; and Lin Yue's oil paintings show the philosophical cornerstone of the motif of life - and; but also a kind of philosophical thought of reverence for life that is in line with the times.
Lin Yue deeply demonstrated the loyalty, tenacity, majesty and integrity of the Tibetan mastiff.
Known in Chinese folklore as the mastiff, the mastiff is the protector of the Tibetan people. More than 2,000 years ago, Tibetan mastiffs were active in the Himalayas and the Tibetan Plateau at an altitude of more than 3,000 meters. It has thick bones, strong physique, thunderous roar, heroic and combative, with the domineering spirit of a king and extreme loyalty to its master. In ancient China, there was a saying that "one mastiff dog is against nine wolves".
<h1 class="pgc-h-arrow-right" data-track="72" > Lin Yuexin's works</h1>
-- Lin Yue · 《Learning》50X70cm --
-- Lin Yue · Guardian 80X100cm --
Lin Yue is an artist famous for painting Tibetan mastiff oil paintings, especially the image of the famous mastiff Siba King, whom he himself raised and has been repeatedly depicted as a model, infused with his personal inner things, thus attracting people's curiosity and becoming a miracle and anecdote in the art world.
The space of existence that Lin Yue found in the Tibetan mastiff, in the Siba King, the spiritual species running on the distant horizon of Tibet, purely conveyed the expression of his personal life existence, the physical color that he captured and was related to his own root nature, because we looked at his creation from his consistent and completely ritualized Tibetan mastiff works, and we came to the conclusion that Lin Yue painted his Tibetan mastiff theme, that is, to deal with his own life existence, and the two are closely embedded in his body and cannot be separated.
-- Lin Yue · 《Mountain Light Blue Water》50X70cm --
Many years ago, the decline of the Tibetan mastiff fever did not affect Lin Yue's enthusiasm for paying attention to the fate of the Tibetan mastiff and painting the Tibetan mastiff, which may be considered a burden by others, which is an incredible thing, but here Lin Yue is the whole of his life, both his responsibility and his freedom. The power of his brushstrokes is poured from the heart into every form of the Tibetan mastiff, every look, and even every wisp of hair. But the separation came irrepressibly.
-- Lin Yue · Majestic Wind, 100X140cm --
With the death of King Siba in June 2019, the spiritual foundation on which Lin Yue's painting art rests has undergone tremendous shocks. Although the artist was mentally prepared for this sooner or later result, for him, for him, the artist whose every painting was based on the animals of the world, the animal that had been moving before his eyes and was firmly grasped by him, the disappearance of the vivid image, must have left a deep imprint on his spirit.
Lin Yue knew that the existence of King Siba was pure and free, it had the freedom to live, and the freedom to die, and he naturally accepted this reality, but it was impossible not to take this reality to heart, so that his painting language needed a due strength, a force that could break free from death, and get out of the situation where he had been emotionally entangled, that is, it was imperative to include the consideration of life and death in the painting language.
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