I got a library card in Yuexiu District Library at Dongshankou. This library is newly built and has few books. However, the new book was soon supplemented. In addition, the environment is quite good. I especially like the small exhibition hall on the first floor. Every time I borrow and return books, I can always see the latest exhibition in that small exhibition hall, which is a free exhibition hall. This is an exhibition of works by senior painters from China held in Yuexiu District, cheering for the Olympic Games.
Chinese painting no longer occupies the advantage of absolute artistic position in the present era, and it can even be said that the situation is worrying. This is my first thought when I walked into the exhibition hall. Because ink painting always has too much gloomy atmosphere. In the sunshine age when the earth is warming, art is diverse, brilliant and colorful. Gradually, more art forms keep flocking to the beach. And ink painting can't get rid of the revolutionary views of the last century. Young artists who were fashionable in those days have now become awkward old people who are skilled but out of date. The situation is not very cola, and the result is even more boring. No matter how powerful the authority is, it is difficult to convince fashionable young people. Because old artists are breakthroughs and new things relative to themselves, but for this era, it is tantamount to standing still. Therefore, although Lu's Leisure Map is very infectious, it is only limited to giving people a strong sense of gap. However, he made a gesture, which, in my opinion, can show the way.
More than twenty years ago, I liked Lu's sketches very much. I also have a copy of Mr. Yu Guang's "Hundred Emperors Atlas" in my bookcase. At that time, I would follow comic books and Lu's works in magazines. Later, without Lu's name, it became Lu Yu Guang. I began to hesitate and stopped chasing. The ink painting in the exhibition hall of Yuexiu Library first caught my attention from Mr. Yu Guang's figure painting. The golden light of the exhibition hall shines on the ink paintings on the wall, and the ink paintings that painters have worked hard all their lives are divided into five colors. In this exhibition hall, layers of loss, some endless. However, from a distance, the aura of the woman in that painting, in the dazzling light, makes you stop. Her hand was gracefully half raised on her chest, leaning between the plants of pen and ink, and her head seemed to turn to the audience outside the painting, but her eyes drifted to the distance at the upper right of the picture. Fluffy millet perm and short hair blow sideways like the wind, which is very fashionable. However, this fashion is still the taste of people over middle age. It can be understood that Lu intentionally implanted the flavor of the times in his ink paintings, and his unique new brushwork is also reflected in his paintings. A very interesting ink figure. If the color is more beautiful, I will like it better. My favorite is the beautiful Tang hand in the painting center. This gesture gives me a feeling of being summoned, which is an artistic call in the Tang and Song Dynasties. Think of the ladies of Zhou Fang, Natalie and Tang Yin, the nobility and elegance handed down from generation to generation, the classic amorous feelings and spirituality. In fact, in today's era, Chinese painting should not be eager to find a combination of Chinese and western. But to return to the truth, we must first return to the exquisite attitude of Chinese painting. Find the lost elegance and nobility from your own classics and find a beautiful taste. Because only by understanding the essence of our national culture can we find the perfect combination with the cultural temperament of the times. Even westernization should be a natural transition and a natural state. After twenty or thirty years of new ink painting experiments, we should also realize that it is not sweet to twist the melon.
This Leisure Map was completed in 1994, and the characters in the painting are not idle. It's a complete picture of "What should I do?" The expression. Coupled with the tone of Mr. Yu Guang's inscription, it is full of helplessness. I read the words in the painting, and another appeal rang out in my ear. Pan is shouting: "Chinese painting can't get lost in the diversified pattern." I looked on coldly, but saw a problem. In fact, a large number of experts and scholars, including callers, are not aware of this. The Chinese paintings they refer to are not really traditional Chinese paintings. It is an improved style of pioneers of new Chinese painting at the beginning of last century. For a whole century, our art education is based on these people. For a whole century, no one realized it, and no one saw farther. Today, when Pan mentions his Central Academy of Fine Arts, he will still mention: "Since Mr. Xu Beihong founded the Central Academy of Fine Arts, the Chinese painting department of the Central Academy of Fine Arts has been an important stage for Chinese painting teaching in China since the 1950s, with a large number of talents. There are Qi Baishi, Xu Beihong, Jiang, Ye, Li Keran, etc. , including later Lu Chen and Zhou Sicong. Today, teachers of many departments, whether retired or in-service, are active and influential figures in China painting. " In fact, the style of this group of roll calls should have expired long ago. Every era has its own artistic orientation. Before these figures, there were too many in China, which belonged to the historical essence of each era. Those are the real food for raising these characters, and they should also be the food for raising future generations. If we confine ourselves to learning from the reformers of the last century, we will be malnourished. As a result, we can't see the real breakthrough of Chinese painting today, and we can't see the handed down works of our time. It is a sad cultural forgetting.
Recently, a lot of information about Pan suddenly poured out, which is another unique figure. Major art websites began to promote him. I first learned that Pan Gong Kai was on the blog of Huang Chen, the stationmaster of Chinese Painting Forest. Huang Chen himself is engaged in Chinese painting and Chinese painting education. I went to Beijing in April, 2008, and uploaded the environmental photos of Central Academy of Fine Arts. Let's look at a modern Central Academy of Fine Arts and introduce that Pan, the president, is the son of Pan Tianshou, a master of Chinese painting. I searched online, and the website of Chinese Painting Forest has Pan's works on display and personal introduction. Pan also has his own official website and more websites have his comments. I got to know this famous Chinese painting figure in contemporary China. He has done a lot of work, building hospitals, writing books, teaching and painting, which is quite substantial. On July 26, 2008, when I turned on the TV, it happened that CCTV Education Station was talking to Pan in the studio. Said a lot, fame and beauty. However, I heard a key speech. Pan particularly emphasized that the employment situation of Central American graduates is very good, with an annual salary of 8 to100000. In fact, Central America has expanded almost all artistic disciplines. As far as practicality is concerned, it is a large and comprehensive talent training melting pot. In fact, the concept of starting from practical value has always existed. It is said that the style of Chinese painting has landed, learning freehand brushwork and reformist style. This is a practicality of the value orientation before the reform and opening up. At that time, if you learn these well, you can be assigned to propaganda posts in various departments of state institutions. This is practical. Therefore, China's art education can't find the true meaning of beauty for more than half a century.
Some time ago, Yu Dan was very popular. A philosophy professor's speech style is full of beauty and artistry. But no art professor can be so conspicuous. I began to doubt whether China's art education is not only practical, but also spiritual enjoyment. It seems that all Chinese paintings are indifferent and far-reaching beauty of China literati, but it is not convincing that indifference is really beautiful. What is the reason? Let's take a look at how people in reality treat art and material desires. Qi Baishi's paintings are very valuable. Why? In my opinion, besides doing something practical, the most important thing for that carpenter is that he is playful by nature. Everything is drawn from the perspective of fun, and utilitarianism is only used as a way to exchange some rice money. Country boys have not become utilitarian, materialistic and have low living requirements because they have entered the capital. However, his things are above everything else in life. The spirituality of the whole body and mind endows this artistic ability. It is known all over the world that the most valuable paintings of intelligent carpenters are those shrimps. With the growth of age, the old artist is not thinking about how to make great plans and complete several great masterpieces, but playing with shrimp. The reason couldn't be simpler. People are old, just like shrimp, hunched over and weak in feet. However, Lao Zhi, a carpenter, found that this guy shrimp has a spirit very much like himself. Although the form seems weak, it is very alert. This is equivalent to the artistic spirit of the old man and his artistic environment. In the water, you can be rude to the water. He has so much wisdom and cleverness that these little guys can show it. This is really naughty and fun. It has nothing to do with art with lofty ideals, but it is the purest and happiest art. Therefore, the true meaning of art is so ordinary and so individual. It has nothing to do with money, no genre. So whether Chinese painting should be combined with western painting depends on people's needs. Therefore, China's art education should not overemphasize form. If you insist on giving a statement, I say we should explore the history of Chinese painting more.
In this era of artistic diversification, Chinese painting should also be diversified. Because the art of Chinese painting itself has diversified characteristics. China's long history is also a long development of art, and Chinese paintings of all ages are worthy of setting up separate teaching plans. Only through the training of painting style in special times can we develop a personal style with rich background in the colorful art world. Instead of forming a style of contemporary plagiarism.