Introduction to Xue
Xue (1957. 1-) was born in Nanjing, Jiangsu (now Beijing).
Famous painter, art theorist, founder of related painting school.
Member of China Artists Association, definer of xuanhua, artistic director of National Art Network, special painter of Jiangsu Academy of Chinese Painting, vice president of Chinese Painting Research Association, curator of Xue Art Museum, etc. He studied at Lu Xun Academy of Fine Arts, Liaoning University and Shenyang Artillery Academy. He used to be a lecturer in philosophy and aesthetics at the university. 1986, he founded the school of kinship painting (the youngest founder of painting school in the world, Picasso founded cubism painting school at the age of 28, and Xue founded kinship painting school at the age of 29). Published academic monographs: Renewal of Chinese Painting Concept and New Exploration of Techniques (1989, Symbolic Works of China's Painting Art), On the Eternity of Art (1993) and On Xue's Art (in 2003, following Da Vinci's Painting Theory, Rodin's Art Theory, Kang. A number of important papers have been published, forming an artistic theory and ideological system, which has had a great impact on promoting the development and innovation of contemporary Chinese painting art. Known as "1989 epoch-making artistic miracle creator". Created a unique relative painting school (such as reality and illusion) dream human body, seascape and landscape series. Settled in Beijing in 2007. Important artistic contributions: Xue's ideological system of artistic theory, relative painting school, definition of metaphysical painting, and six elements of Xue's six methods-metaphysical painting modeling, law of discovery, law of beauty, essence of beauty, essence of artistic innovation, origin of art, five categories of art, definition of painting school, law of artistic value, etc. ...
Like Picasso, Xue is the youngest founder of painting school in the world (Picasso founded cubism painting school at the age of 28, and Xue founded relative painting school at the age of 29). Known as "1989 epoch-making artistic miracle creator". A series of works, which are characterized by transcending time and space, "being as real as fantasy" and the eternal life of the universe, have been widely recognized and collected by collectors. (See the national website, Xue and Xue's art theory and thought, relative painting school and other related searches, relative painting school art network, etc.
A new concept term created by Xue: the three laws of Xue's artistic theory and thought relative to painting school, the three laws of Xue's six methods of publicizing painting (Chinese painting) modeling, the three laws of beauty and the three laws of publicizing painting's artistic value. Source: online encyclopedia and other dictionaries.
Relative painting school (if it is true or unreal): the combination of concreteness and abstraction, seeking harmony in disharmony.
Turning over the civilization history of human society, various fields and periods have produced great academic works. These works not only put forward new topics for academic circles, but more importantly, brought us a revolution in thinking mode and a renewal of ideas. Behind the new ideas, there often stands an outstanding genius whose creation has changed the face of history.
Xue, the founder of relative painting school, is such a pioneer who dares to innovate. In order to concentrate on the study of artistic innovation, he resolutely left his post as a lecturer in a military academy, gave up the promotion opportunity of an associate professor, and embarked on the road of a professional painter when the Academy of Painting could not accept it because of the establishment restrictions. The training in the military academy has created his professional soldier's love for the motherland and indomitable character; Philosophical thinking armed his mind. He was good at independent thinking and dared to put forward different opinions. Dare to break the old ideas and rigid dogmas in the ideological field and challenge the existing authority. It is the first time to put forward China's new "Xue Liu Fa" modeling concept and other systematic theoretical viewpoints, trying to break the leading position of Sheikh's "Six Fa" in painting, that is, Chinese painting creation for thousands of years, so that painters and theorists can get rid of the shackles of traditional artistic concepts and modeling concepts, so as to renew their concepts and create new traditions. Realizing the declaration of painting means that China's traditional painting moves towards modernization and the world. His artistic innovation has had a far-reaching impact, played a positive role in promoting the development of China national painting, and injected vitality and vigor into the artistic life of ancient national painting.
1989, Xue published the first academic monograph, New Exploration of Concept Renewal and Techniques of Chinese Painting, which laid the foundation for the later publication of Xue's Art Theory. Three years later, it entered the 1990s. On this basis, some people in China painting circle shouted the slogan "Pen and ink equals zero", which aroused strong repercussions in the art world and started a wide-ranging debate. This interesting similar phenomenon, as bacon first put forward in the book "New Tools", "The road of human strength and the road of human knowledge are next to each other, almost the same". These two sentences were summed up by later generations as "knowledge is power", exactly the same. The slogan "Pen and ink equals zero" comes from the academic viewpoint of "non-pen and ink" put forward for the first time in Xue's professional book "A New Exploration of Chinese Painting Concepts and Techniques" published by 1989-"No pen is a pen in itself, and there is no such thing as not writing". "The mistake of no pen is that you can't tell the difference between' pen' and' brushwork'". "The most important thing is often not the various materials and tools in the art form, but the unique modeling concept and unique expression adopted by the work itself. Pay attention to the beauty or' soul' hidden in the work that infects the viewer. " "Under this premise, what kind of tools and means will be irrelevant. The best attitude towards the pen is not to choose its pen. " "Color comes from a single ink and Chinese painting pigment ..." From this perspective, it is precisely because of Xue's fearless spirit that a new topic was put forward for the academic community for the first time, which triggered a continuous academic debate.
Xue's artistic thought is embodied in the academic monograph Xue's Art Theory published by Tianjin People's Fine Arts Publishing House in 2003. A collection of the academic monograph "A New Exploration of Chinese Painting Concepts and Techniques" published by Shenyang Publishing House 1989 and the academic monograph "On the Eternity of Art" published by Nanjing University Press 1993. This book systematically expounds that Xuanhua is an update of the concept of Chinese painting, and innovates, supplements and perfects the "Sheikh Six Laws". He first put forward the viewpoint of system theory: announcing the new "six methods" of painting (Chinese painting) (Xue Liu method); Xuanhua replaces Chinese painting, giving a scientific name and definition to China's painting art: Xuanhua-painting on Xuan paper and silk with pigments. It is the main form of oriental painting art and other modeling concepts, and it is also the discovery and summary of the "three laws of beauty" in artistic innovation. The modern aesthetic tendency he advocated subverted pen and ink and composition; Schools and painting schools are scientifically defined. It provides a theoretical basis for the diversified development and comprehensive innovation of China painting art; The innovative ideas in his artistic aesthetics have played an important role in promoting the diversification, modernization and globalization of China's paintings. And he put forward that "the most primitive painting is language, and art originated from people's language consciousness." Engels' theory that art originated from labor was revised. It is instructive to the study of primitive art.
After more than 20 years of exploration and creation, Xue has formed a complete theoretical system of artistic aesthetics. Xue's artistic theory is the confirmation of long-term artistic practice and the perfection of "relative painting school". He chose the combination of abstraction and concreteness to look forward to the new century; Relative painting school-with the artistic forms of "reality as illusion" and "relative harmony", it shows the infinite space of the universe and the reverie of eternal beauty in a limited picture. ...
Xue's Theoretical System of Artistic Aesthetics
All-round innovation in theory, technology and genre of artistic aesthetics.
Six elements of xuanhua modeling (on the basis of Sheikh's six methods, Xue's six methods are put forward again)
1, lines-pen and ink lines and non-pen and ink lines.
2, modeling-seeking quality.
3. Structure-pen and ink line structure and non-pen and ink line structure and light and shade structure.
4. Light and shade-the opposition and light and shade form between the dark line subject (pen and ink line) and the bright line subject (non-pen and ink line).
5. Space-plane overlap and subject, objective reality universe (the first reality universe) and "reality" universe of psychology and imagination (the second "reality" universe).
6, color-heavy ink color light ink color and heavy ink color light ink color. Color comes from a single ink painting pigment.
See "New Exploration of Chinese Painting Concepts and Techniques" on page 32 and "Xue Art Theory" on page 30.
Scientific Naming and Definition of Xuanhua;
Xuanhua: Painting on Xuan paper and silk with pigments. It is the main form of oriental painting art.
Xuan paper and silk are the essential attributes of Xuan painting. Ink is a form of poster pigment and does not constitute the essential attribute of poster. You can use it or not. Ink and wash, as a kind of pigment, is clearly expounded in the book "Renewal of Chinese Painting Concept and New Exploration of Techniques" from 65438 to 0989. He does not constitute the essential attribute of Chinese painting. "Color comes from a single ink and pigment of Chinese painting (see page 52 of New Exploration of Chinese Painting Concepts and Techniques for details); Xue's Art Theory, page 49). I later put forward the theory of "non-pen and ink", which triggered the discussion that "pen and ink equals zero". I won't go into details here.
See Art Daily on July 22, 2006.
Composition: "Composition" is only a historical reference, and it should not be deterministic or stereotyped.
The "composition" of Chinese painting is a precious heritage of our national art and the starting point of our new development. "If you can't, you can't; if you can't, you can't, and the law is the supreme law" (Painting Spectrum). If you can achieve "impossible and law", that is, you can instinctively observe with your own eyes, think with your own brain, form your own modeling concepts, ways and methods, and form your own genre, it will be the highest realm of art. Of course, before finding "my method", we first need to know the experience of our predecessors (especially the theory and learning methods), so as to avoid taking many unnecessary detours. More importantly, we can find room for change and development by learning from the experience of our predecessors.
See "Renewal of Chinese Painting Concept and New Exploration of Techniques" 14 and "Xue Art Theory" 14.
Pen: No pen is a pen, and there is no such thing as a pen.
The wrong idea of no pen itself lies in the confusion between "pen" and "brushwork"
Real art often pays the most attention not to all kinds of material and tool factors in art form, but to the unique modeling concept and unique expression form adopted by the work itself. Pay attention to the hidden aesthetic feeling or the infection of "soul" to the viewer. It doesn't matter what tools and means are used under this premise. The best attitude towards "pen" is not to choose its "pen"
See "Renewal of Chinese Painting Concept and New Exploration of Techniques" on page 27 and "On Xue Art" on page 26.
The Essence of Xuanhua (Chinese Painting)
The nature of Chinese painting does not depend on the traditional or classical concept of Chinese painting modeling, nor does it depend on whether it was painted by China people, nor does it depend on the techniques of Chinese painting. The nature of Chinese painting should depend on whether the basic or essential attributes of Chinese painting exist. What are the basic attributes of Chinese painting? Mainly the existence of basic materials, that is, rice paper and silk.
See "Renewal of Chinese Painting Concept and New Exploration of Techniques" 62 "On Xue Art" 6 1.
Necessary conditions of art school and painting academy: necessary conditions of art school and painting academy;
Painting school: Painting school refers to a painting form that forms a "unique symbol of beauty" from a unique concept of painting art. (Xue Qualitative)
The true school of painting is not only a group, but also has the following preconditions or conditions: "First, the school of painting refers to a unique artistic concept, which advocates and forms its own distinct ideological system. Second, genre refers to the formation of artistic forms with similar styles and techniques under the premise of the same artistic concept. Schools can not be divided only from the similarities in sects, techniques and performance objects, but from the similarities or similarities in modeling concepts. The technique is single, the object is similar, and it is different from others' or predecessors' ideas. It can't be called the formation of a new school, but it can only be said that the style and school are different. In the history of painting in China, except for "literati painting school" and "academic school", other so-called painting schools are actually schools formed by mentoring, disciples and regional relations, rather than painting schools in the real academic sense. Third, one or more groups. Only by meeting the above three preconditions or conditions can it be called a genre or painting school. For example: Kandinsky, the founder of abstraction, Picasso, the founder of cubism, Dudley of surrealism and so on. The whole history of painting is the history of the change and development of modeling concepts and the history of the aesthetic feeling of painting art forms determined by modeling concepts. The formation of various paintings and genre styles is first of all the formation of modeling concepts. The change and renewal of the aesthetic feeling of all painting art forms first depends on the change and renewal of the concept of modeling. "
See "Renewal of Chinese Painting Concept and New Exploration of Techniques" 12, "Xue Art Theory" 1 1 page.
China's regional painting school is equal to zero.
"First, China's sectarian art is a specific historical product, which should have become a thing of the past. Due to the unified traditional culture in China's past history and the limitation of productivity in the old society, a regional sect of mentoring was objectively formed. However, in today's era of innovation and innovation that emphasizes independent innovation, this Sect that is only divided by geographical people has not adapted to the times. " "It is a great mistake to divide the history of China only by regional people rather than artistic ideology. It is not enough to simply understand schools or painting schools as groups. A school or painting school must meet the following preconditions and conditions. This is the key to our solution. A genre or painting school refers to having a unique artistic idea or modeling concept. Second, create your own unique and distinctive artistic style and technique system. Third, one or more groups. Only by meeting the above three preconditions or conditions can it be called a genre or painting school. Traditionally, we have always been accustomed to understanding the painting school as a group, which is a misunderstanding. "
Second, there are few new artistic ideas, modeling concepts and unique artistic forms among the regional sects played all over the country. The most unified slogan is "pen and ink should keep pace with the times", but this sentence comes from Shi Tao in Qing Dynasty. What Shi Tao said in Qing Dynasty actually became the artistic thought or main slogan of our new regional painting school. Is this the lack of innovative spirit of our nation? Or is it because you have gone into a misunderstanding? What is not equal to zero?
Thirdly, the conclusion of judging the current ethnic regional painting school with the negative theory of dialectical materialism is also zero. That is, every province and city is a painting school, which means there is no painting school. This is a truth that everyone with general philosophical knowledge knows. I often think that our regional painting school has developed into a new regional painting school, so what will it be called in the future? If you don't agree to call it "China School", it can't be called "Xinxin XXX Regional School".
In the history of painting in China, except for "literati painting school" and "academic school", other so-called painting schools are actually schools formed by mentoring, disciples and regional relations, rather than painting schools in the real academic sense.
The formation of painting school mainly depends on the unique artistic thought, modeling concept and modeling form or artistic expression form. Does not depend on the number of people. A person, as long as he has the above preconditions, can be called painting school or the founder of painting school. Such as cubism, Picasso; Abstract painting school and Kandinsky; Both surrealist painting school and Dali have successfully become the founders of painting school or painting school.
See 2006-3- 17 Xizhi Calligraphy and Painting Newspaper.
The formation of modeling concept
The origin of artistic schools is often related to lonely psychological expression. Only with unique psychological feelings, especially the characteristics of internal experience and self-transmission of beauty, can we have unique expression techniques and artistic forms. Therefore, while paying attention to society, we must pay more attention to personal subjective feelings and feelings. Paying attention to the cognition, understanding and expression of subjective self is very important for the formation of any painter's modeling concept.
See page 60 of Renewal of Chinese Painting Concept and New Exploration of Techniques and page 59 of Xue Art Theory.
Modeling Concept of Relative Painting School —— Reality and Illusion
(1) adopt corresponding viewpoints (one is an objective image and the other is an abstract psychological "image". ) Try to let the viewer use imagination to achieve the inspiration of hazy beauty. Through the complete opposition or intersection between realistic pictures and abstract pictures, we strive to show a two-way aesthetic perspective, reveal the essence of two-way beauty, and adapt to two-way or different appreciation levels. Although different people have different inspiration depth and aesthetic tendency. ...
(2) Try to bring people to an abstract and illusory realm that is close to reality and fiction.
(3) In the "seemingly incomprehensible" with both themes and unclear themes, there is always a certain space for ambiguity in imagination or aesthetic psychological distance. I feel something, but not all.
(4) The uncoordinated and unharmonious combination of light and dark environment can achieve harmony in disharmony and harmony in disharmony.
In short, the concept of "relativity" tries to open up a two-way clear and fuzzy viewpoint and space on a picture, so as to achieve a situation that is both intuitive and abstract, illusory, fictional and hazy-"as real as unreal".
The relative painting school advocates: the combination of abstraction and concreteness "that is, seeking harmony from disharmony and seeking harmony from three-dimensional contrast;" Seeking unity from obscurity and clarity. "
The art form of the relative painting school: The relative painting school has chosen an art form that looks forward to the new century and combines abstraction with concreteness-"as real as fantasy" and "relatively harmonious", which shows the infinite space, the sublimation of human nature's truth, goodness and beauty, the love for art and the reverie of eternal beauty in a limited picture.
See March-17, 2006, Xi Zhi Calligraphy and Painting Newspaper, Yachang Art Network-Xue's official art website.
The Requirements of Modernism for China s Painting Art;
(1) Art must be a form of beauty.
(2) China's modernist painting art is not to move all or part of some western "modernist art" to China, but only to change materials, composition forms and performance objects. Modernist China painting art must represent some new ideas and new forms of expression.
(3) Modernist Chinese painting art should have its own modeling concept and ideology, which is not unconscious. Because the birth of any rigorous art is not an unfounded, unattractive law and meaningless fabrication.
(4) Modernism The aesthetic tendency of China's painting art should tend to "modern people", that is, people with modern ideas.
(5) The birth of modernist China painting art will have a process. After the formation of modern painting art, it is impossible to have only one first-class school, but to have many schools. But one thing is the same, that is, everyone wants to try not to adopt some traditional Chinese painting concepts and forms, but based on reality and the future, trying to find an artistic language that can break the old concepts and forms and has another unique, self-contained and beautiful style.
See Xue's On Art, page 8.
The law of artistic species evolution
The so-called art is nothing more than a special form of thinking that reflects reality with images, which is more general and typical than reality. Any art that can't break through or constantly break through the concept and form of "self" has lost its artistic essence, which means that art is out of touch with reality.
If people use their predecessors' experience, skills, tools and materials to create, but they can't reach or surpass their predecessors, let alone find the best way to combine with the new reality, it means that this ancient artistic concept and form can't meet the needs of the times. At this point, change is possible and transformed into inevitability. I'm afraid this is the law of artistic evolution.
See Xue's On Art, page 3.
Inheritance and development
In a sense, creation is transcendence, a change of tradition and an inheritance in development. See Xue's On Art, p. 1.
Five categories of fine arts
1, symbol of original painting language
2. Practical technology
3. Aesthetic craft
4. Practical arts
5. Aesthetic art-pure art..
See On the Eternity of Art 1 15, On Xue's Art 194, Art Newspaper 20061October 0 -65438-2 1.
The essence of beauty
Beauty is the overall harmony and unity that causes human spiritual interests.
See On the Eternity of Art 19 and On Xue's Art 1 18.
Three eternal laws of beauty
* The three unchangeable laws of beauty refer to the benefits to human life;
:: Objectivity of the Earth;
* The eternal law of aesthetic harmony and unity formed by the infinity of the universe.
See page 38 of On the Eternity of Art and page 133 of On Xue's Art..
The Relationship between Artistic Subject and Aesthetics
The aesthetic characteristics of art determine that every work of art must be a relatively unique aesthetic entity. The ideological content, modeling concept and artistic pursuit of any painting must be expressed through certain structural relations and means of expression.
1. Aesthetic modeling concept and artistic pursuit are the primary conditions for the formation of painting personality.
2. The uniqueness of beautiful painting forms is the direct expression of artistic individuality.
3. Unique artistic conception is the direct expression of painting art individuality.
See "On the Eternity of Art" on page 130 and "On Xue's Art" on page 209.
Art and empathy
Painting is essentially an art of emotional expression. The creative process of an artist is the process of empathy. By empathizing with the painting and then empathizing with others, it can arouse others' resonance and emotional voice, and play the role of emotional communication.
See "Renewal of Chinese Painting Concept and New Exploration of Techniques" 59 "Xue Art Theory" 58.
The boundary between artistic subject and beauty
* The essence of beauty comes from the essence of human life;
* The eternity of beauty comes from the eternity of the interests of the subject of human life;
* The overall harmony and unity of beauty depends on the beneficial spiritual harmony and unity of the whole human life subject. See page 30 of On the Eternity of Art and page 126 of On Xue's Art..
The process of aesthetic activities
* It is a process of unifying physical activities and psychological activities.
* is a process from intuitive image to rational thinking.
* is the unity of cognition and creation.
See page 43 of On the Eternity of Art and page 137 of On Xue's Art..
The most primitive painting is language.
The most primitive painting is language, and art originates from human language consciousness.
See page 87 of On the Eternity of Art, page 17 1 of On Xue's Art, and Art Newspaper, day 2006-1-2 1.
Main differences between primitive painting language symbols and modern art
See 120 on the Eternity of Art, 198 on Xue's Art, 2006- 1-2 1 Daily Art Newspaper.
On the Essence of Artistic Innovation
Innovation is the soul or motive force of human civilization and progress, and it is also the life of human artistic development.
See Art Newspaper 2006+0.438+04.
The essence of artistic innovation is the creation of beauty.
First, the special form of art, especially painting art, determines that artistic innovation is different from innovation in the general sense.
(1) Aesthetic features determine the authenticity of artistic innovation, especially the artistic innovation of painting.
(2) It is not enough to just pursue novelty and novelty.
(3) The "innovation" against ugliness is by no means art, let alone artistic innovation and painting artistic innovation.
Second, artistic innovation, especially the essence of painting art innovation, is equal to the creation of beauty.
(1) Beauty is the premise.
(2) Creation is the basis of artistic innovation, especially painting art innovation.
(3) Art innovation, especially painting art innovation, is bound to be the creation of beauty. The two complement each other, are dialectical and unified, and are indispensable.
See Art Newspaper 2006+0.438+04.
Six characteristics of art waste
(a), repeat others without artistic innovation, that is, works without their own unique artistic aesthetic personality characteristics.
(2) Repetition is too much, the same, painting a thousand works.
(3) Blind pursuit of quantity, not innovation, not quality.
(4) works of art that are neither beautiful nor ugly.
(5) False paintings of works of art that cause disasters.
(6) Celebrity calligraphy and painting is money.
See Art Newspaper +0-2 1, 2006.
The Best Investment of Xuanhua (Chinese Painting)
First, the investment of the founding masters in art is always the first choice for art investment.
Second, investing in works of art that will surely become masters of art in the future.
Third, boutique investment.
Fourth, things are rare and precious, and cannot be faked.
Fifth, we should have a normal mind and invest for the purpose of collection.
Sixth, the investment in the most outstanding artist representatives has reached its peak.
See the April 8, 2006 and April 65438+May 2006 issues of Art Newspaper.
Artist's professional spirit
Artists and art theorists should have the spirit of artistic dedication and regard art as life.
See Art Newspaper, 2006- 1- 14.
What I want to do is to contribute and create art.
See Xizhi Calligraphy and Painting Newspaper 2006-3- 17.
Painful exploration and persistent pursuit are essential qualities for artists.
See Xue's On Art, p. 64.
Painter, sculptor, sculptor, traditional Chinese painting (Xuanhua), China painter definition (Xuanhua)
Painting: refers to the plastic arts (Xue Zhi) based on plane visual arts.
Painter: refers to the plastic artist (Xue Qualitative) who takes plane visual art as the carrier.
Sculpture: refers to the plastic arts with stereoscopic vision as the carrier (defined by Xue).
Sculptor: refers to the plastic artist (Xue Ding-ming) who takes stereoscopic visual art as the carrier.
Chinese painting (Xuan Hua), that is, painting with pigments on Xuan paper and silk, is the main form of oriental art.
China painter (Xuan painter) is an oriental painter with Xuan paper and silk as the main carriers.
The virtue and essence of an artist lies in constant discovery and creation. The opposite vulgarity or enemy is conservatism.
People are used to looking at exploration with mature or successful eyes, but they often ignore the value of exploration itself and its connection with the future. On the contrary, art can only advance through exploration.
As a real artist, even if you see the excellent works of the ancients (including the west) to an unparalleled extent, you can't repeat them. On the premise of understanding the ancients (including the west), we should open our eyes to discover the beauty of the times, discover the new artistic concepts and artistic expressions created by "self" and create the artistic language of "self". Even sketching and sketching (including plaster painting) should strive to do this. Of course, modeling concepts and forms of expression must have their own national cultural temperament and aesthetic taste, but different painters should have their own different ways of thinking and different ways of observation. Only when the concept of modeling is different, the formal aesthetic feeling of his works will be different.
As a modern artist and painter, he not only needs the ability to accept or master the aesthetic tendency of modern people, but also needs the spirit of being willing to be lonely, not afraid of being left out and enjoying himself alone. As long as he firmly believes that he is on the right path, there is no need to consider whether he can be selected into the art exhibition hall or whether he will be recognized by some outdated individual "authorities". As long as it is a sincere artistic pursuit, it is bound to gain artistic sincerity from time.
See Xue's On Art, page 67, page 87, 105.
Network query Xue Dui Academy of Fine Arts Network
New Exploration on the Concept Renewal and Techniques of Chinese Painting
On the Eternity of Art
Xue's Art Theory