Ye Shangqing is at Qiuci Pavilion in West Lake.
October 2006
In a word, the art of traditional Chinese painting, with the meaning of novelty and beauty, keeps forging ahead, exploring from top to bottom, feeling feelings and reaching high, so that "the forest of world art will last forever." New-including concept, pen and ink, conception, composition and painting style; Beauty-including color, modeling, interest, charm, painting beauty, etc. The same is true.
The art of Chinese painting has always been to inherit the essence of national tradition and carry forward the traditional spirit. To carry forward, it is necessary to inherit, and only with inheritance can there be innovation. Contemporary Chinese painting should be innovated on the basis of tradition.
The artistic characteristics of traditional Chinese painting are poetry, calligraphy, painting and printing. Mr. Pan Tianshou said, "Painting needs four things, not three." . Bona brings out the best in each other and has the cultural spirit of complementary arts and learning, but it is necessary to pay attention to the cultivation outside the painting, so-called "one expert and many talents".
Art is endless, painting is endless, and painting must be cultivated at the end. What is learning? Such as life, pen and ink, learning, morality, etc. Song Luyou said that "Kung Fu is beyond poetry"; Deng Chun's "Painter, Excellent Writing Style"; Dong Qichang's idea of "learning from thousands of books and taking the road of Wan Li" in Ming Dynasty is a profound insight into the painter's knowledge and accomplishment.
In the Tang Dynasty, Zhang Xun's theory that "nature is made by foreign teachers and the heart comes from China" became a famous saying in the history of China's painting and artistic creation. The objective relationship between "nature" and "mind source" must be organically combined and perfectly unified. Creation should come from life, higher than life.
Nowadays, in dealing with people, we pursue truth, goodness and beauty; Fight against falsehood, ugliness and ugliness. The art of Chinese painting must also praise the truth, goodness and beauty, so that the works can move forward on a healthy and positive road.
The purpose of "making foreign things serve China" is to critically absorb and draw lessons from foreign painting techniques for our use. What can we learn from them? Such as perspective, color, composition, etc. Make use of the advantages of others to make up for your own shortcomings. Science and art are different. We should not only integrate science and technology, but also surpass it. Chinese painting is the quintessence of the oriental nation. It has its own artistic system and cultural field, so there is no need to integrate it.
Chinese painting takes pen and ink as its artistic language. Pen and ink complement each other in painting, which is called "phase is exterior and interior". The pen seeks momentum and strength, cadence and cadence; Ink and wash seek charm, interest and rhythm. Yunnan Tian said: "There is a pen, ink and painting", and "Pen God" and "Ink God" are the best.
The current theory of "pen and ink" denies the national spirit connotation and life-bearing function of pen and ink, which is one-sided. Keeping pace with the times, pen and ink must evolve and innovate, so that the artistic language is broad and inclusive and has a higher cultural concept.
The ontological attributes of Chinese painting are image modeling, Sheikh's theory of "pictograph of things", Shi Tao's theory of "similarity", Qi Baishi's theory of "similarity between similarity and dissimilarity" and Huang's theory of "absolute similarity and dissimilarity". The insights of the masters of past dynasties, the aesthetic view of ghost soldiers on image modeling.
For many years, I have been seeking for "the pursuit of ancient meaning", absorbing the simplicity, simplicity and elegance of traditional art, integrating primitive art and Qin and Han art into the performance of ink painting, and seeking the superiority of ancient meaning, wonderful meaning and new ideas, so that I can win one middle school.
The above humble opinions are my experience after reading, drawing and painting in recent years. On the one hand, it can be seen that these conversations have been confirmed and embodied in the painting collection; On the other hand, through the above discussion, I made a self-explanation for the painting collection. Due to the limitation of my academic accomplishment and artistic level, I hope readers and experts can give me advice.
In the picture album, Pan Tianshou, Fang Jiekan, Han Dengan, Yu, Lu, Li, Liu Jiang, Zhou Changgu, Hong Shiqing, Wu Zhenhua, Ding Maolu, Zhang Gengyuan, Zhu Guantian, Wang Dongling, Zhu Suizhi, Liu Shikai, Su Donghe and Qiu Zhenzhong are the masters of traditional Chinese painting in front of the gate.
The publication of the collection of paintings was taken care of by Mr. Lu Fusheng from Shanghai Painting and Calligraphy Publishing House, and he took time to preface it. The sincere guidance of Mr. Yu Jianhua and the great concern and generous sponsorship of Mr. Li Jining of Eagle United Airlines Co., Ltd. have finally been successfully completed, and I would like to express my heartfelt thanks!