Who can introduce me to a few essays on Chinese painting

How to Face the Problem of Innovation in Chinese Painting

Painting is creative art, and the artistic value of painting lies in innovation. The innovation of painting is no different from the invention in natural science, the only difference is that painting belongs to the category of social science. The innovation of painting can not only bring new sensory stimulation to people, but also its artistic connotation should communicate with the viewer's mind to achieve the effect of shocking people's hearts. If the innovation of painting art leaves this fundamental, there is no value, and the art of painting is precisely in the continuous development of innovation.

The development of Chinese painting also has the problem of innovation, however, today's Chinese painters face the problem of innovation in Chinese painting, but there is a very different understanding.

The innovation of painting is determined by the change of technique and the embodiment of artistic style. In order to achieve this purpose, most painters tend to take great pains in the "art" aspect, which results in either localized improvement, artificial production, or grafting of Western oil painting techniques. Nevertheless, the results are hardly satisfactory, and even the authors themselves sometimes feel ashamed in the face of such an outcome. What's more, in order to force people's attention, they insist on labeling their works as "modern" or "avant-garde", which in fact reveals some people's impatience and eagerness for success. This phenomenon reflects an important problem, that is, the loss of theoretical guidance or simply no theory as the basis for innovation, or only deliberately seek innovation in the "art" in the "art" box, and ultimately can only make the development of Chinese painting towards decline. The main reason why there are so many unsatisfactory status quo in the innovation of Chinese painting is that some painters, although they know that only by solving the most basic requirement of technique can they achieve the purpose of innovation, but they do not know that the solution to the problem of innovation of technique is not based on the subjective fabrication of the painters alone, and the innovation and change of the technique of Chinese painting come from "reason", and without "reason", the development of Chinese painting will only decline. The innovation and change of Chinese painting technique comes from "reason", without "reason" as the basis for the study of technique innovation, it is difficult to realize the purpose of innovation. The creation of new forms of artistic expression and new forms of technical expression is a very serious academic issue, therefore, in the face of the issue of technical innovation in Chinese painting, we must recognize the fact that we must understand the issue of technical innovation in Chinese painting in terms of the "rationale" of the development of Chinese painting. In this way, we can theoretically see the fundamentals of the innovation of Chinese painting techniques, and produce new forms of artistic expression and new expression techniques of Chinese painting with theoretical basis.

Nowadays, when many Chinese painters face the problem of innovation, few of them study the innovation of Chinese painting from the root of the development of Chinese painting, not to mention the philosophical and historiographical concepts to recognize the innovation of Chinese painting, which results in not seeing the key to the innovation of Chinese painting, and therefore causes some people to forget the objective law of the development of things, and instead face a very serious academic issue with the subjective and self-righteous mentality of people. A very serious academic problem, this kind of so-called innovation which has neither theoretical basis nor correct artistic thinking, how can it achieve the purpose of successful innovation? Especially the kind of ignorance of the traditional culture of the nation's contempt, unprincipled loss, which not only reflects some painters due to their own knowledge of the superficiality of the prejudice caused by the more irresponsible for their own culture, so it is not difficult to understand the emergence of those so-called "avant-garde" art in the field of Chinese painting, why there will be a disguised copy of Western suspicion of the problem. The problem is that the so-called "avant-garde" art in the Chinese painting industry today is a disguised copy of the West.

The so-called innovation should reflect two aspects of the problem: one is the innovative method, and the other is to express the depth of its artistic connotation with correct artistic insights.

The most important thing to solve the problem of innovative method is to establish a new art system and make it more perfect, which is the most basic condition for establishing new artistic expressions and new techniques in Chinese paintings, and without this condition, it is difficult to set up a certain technique and style by its subjective imagination. Only under the guidance of the artistic system and artistic thinking that is in line with the development of Chinese painting can a brand-new form of expression and technique of expression of Chinese painting be produced. However, all this directly touches on the question of how to deal with "brush and ink". Some people think that over-emphasizing "brush and ink" will hinder the development of Chinese painting; others think that emphasizing "brush and ink" will make it impossible for Chinese painting to develop. Some people think that over-emphasizing "brush and ink" will stifle the development of Chinese painting; others think that by emphasizing "brush and ink", Chinese painting will not be able to "transform" and so on. As a matter of fact, this is a very subjective approach, lacking sufficient theoretical basis. The "brush and ink" of Chinese painting has always been changing along with the principle of "rationality", and the "rationality" of Chinese painting is used to recognize the "brush and ink" of Chinese painting. To recognize the problem of "brush and ink" in Chinese painting by the "rationale" of Chinese painting: the rationale of "imagery" inevitably produces the method of expressing "imagery" of brush and ink; the rationale of "imagery The principle of "imagery" will inevitably produce the method of expressing "imagery"; the principle of "realization" will inevitably produce the method of expressing "realization". However, there is no difference between all changes and their origin, and this "origin" is the traditional Chinese culture, and the art style with the connotation of Chinese culture can not be shown if it is separated from the traditional Chinese culture. Facing the problem of innovation in Chinese painting, only by following the law of Chinese painting art can we move forward smoothly. If Chinese painters do not have an in-depth and thorough understanding of their own traditional culture, they will never know how to face the problem of innovation in Chinese painting, and of course, it is impossible for them to occupy a place in the Chinese painting world as well as in the history of the development of Chinese painting. By this reasoning, the development of Chinese painting does not have the problem of how to "transform", in fact, this so-called "transformation" is entirely due to the lack of some people's knowledge of traditional Chinese culture, and a half-understanding of Western culture and subjective assumptions. In addition, there are people in the development of Chinese painting problems today, put forward the Chinese painting should be with the Western art "convergence" argument, but they did not figure out, there are different philosophical concepts in China and the West. Chinese and Western paintings, whether philosophical system or artistic system, are not only independent, but also reflect their different national characteristics, cultural heritage and forms of thinking. Some Chinese painters and theorists, in the face of the future of Chinese painting, put forward the argument of "convergence" is unrealistic, showing their pessimism towards the development of Chinese painting. Chinese and Western painting are two different art forms guided by two different artistic thinking and art systems. The kind of argument that only talks about "convergence" without questioning its "rationale" will only lead the development of Chinese painting astray.

How to express new artistic ideas with correct artistic insights, i.e., to express the soul of a work of art, this is a question that painters should seriously think about. A painter without mature artistic insights, it is impossible to create a profound connotation of the work of art, and even more unlikely to produce shocking artistic effect.

Currently, some young painters on the innovation of Chinese painting, more inclined to the so-called "experiments", and even some critics appreciate this, and advocate, but the results of such experiments when how? The fact is not optimistic, but on the contrary, the development and innovation of Chinese painting has brought greater confusion.

What is "experiment"? "Experiment" is a kind of attempt, either successful or unsuccessful. Positively, the current so-called "experimental" art objectively reflects the efforts of some painters who care about the future of Chinese painting. However, since this kind of "experiment" is the product of a lack of theoretical basis under the premise, it is impossible to form a system, and even more unable to express a more profound artistic connotation, therefore, this kind of "experiment" can not be successful, and there is no lack of a certain degree of blindness. This has become a kind of blind movement without reason, and the only theory that can be relied on is the painter's so-called "feeling" or subjective conjecture, which lacks the theoretical foundation of the fallacy of "reason", and how can it become the theoretical pillar of the "experimental" art? How can this fallacious "theory", which lacks theoretical foundation, become the theoretical pillar of "experimental art"? Therefore, it is very difficult to achieve the purpose of "experiment" as well as the persuasive power of theory. In the face of such so-called "experimental" works, it is not difficult to see that some authors are merely influenced by the contemporary Western abstraction trend, and transfer the so-called abstraction of the West to the rice paper of Chinese paintings. Therefore, it can be concluded that these painters do not rationally recognize the development and current situation of Western painting, but only get some kind of radical revelation on the surface, not realizing that they have already followed the Western painting towards helplessness. Superficial understanding brings wrong understanding, wrong understanding will inevitably lead to incongruous works, which show things either ugly, or confused, even the author himself can not say what he is showing, and what artistic connotation can be said, let alone the theory of innovation. Although some people regard this status quo as the "convergence" with Western art, in my opinion, this so-called "convergence" is actually "hitchhiking", and it is the so-called "former" art form that has long since lost its theoretical pillars in the West. But in my opinion, this kind of so-called "convergence" is actually "riding on the train", following the footsteps of the so-called "avant-garde" which has long lost its theoretical pillars. The current development of Chinese painting without any concept and rationality, blindly following the "convergence", blindly experimental results, ultimately leading to the denial and abandonment of the traditional culture of the nation in disguise, and get the non-African-Chinese-Western "sandwich", it is difficult to produce an independent art system and represent the Chinese national culture. The result is a disguised denial and abandonment of the traditional culture of the nation.

There is another kind of so-called "New Literati Painting" which is "new" by labeling "new" word games, which is even more laughable. From "word" to "history", from "meaning" to "elegance", it is difficult to relate to "literature". Wen" on the relationship, not to mention the ancient literati paintings represented by Su Dongpo. Even some of the "literati painting" author labeled as a poem, even the level and oblique can not be distinguished, how to talk about "literature", not to mention its artistic connotation. I really do not know today's "new literati paintings" in the "new" where, I do not know which "text" is beyond the ancients, or behind the ancients, the author of this is really clear! The first is the "new" one, which is the "new" one.

Whether it is "experimental" works, or "new literati painting", why rarely won the appreciation of experts, as well as people's favorite? The reason is not the poor level of appreciation, the important thing is that people need the art of beauty, need to be able to communicate with people's hearts and minds of art, need to have a deep artistic connotation of the work and the real works of art. And do not like the kind of ugly, dirty, say Wen not Wen, say elegant not elegant, unorthodox works. Facts show that, regardless of the ugly and beautiful, the important thing is to communicate with the human heart can be called beautiful, those who do not know the beauty of the ugly thing, the lack of rationality in the ugly so-called works of art, can only make people feel a kind of crazy and perverted psychological self-expression on rice paper, as well as the performance of the jianglang talent exhausted.

It can be said that people's consciousness, learning, mentality determines the artistic meaning of the painter's works, that kind of superficial understanding of Western art, as well as the half-bottle vinegar style of not text to fill the text is very difficult to get to the top of the art. The more the development of Chinese painting to the advanced stage, embodied in the artistic connotation should be more and more profound, which requires a painter must have real talent, it is possible to reflect in today's civilization developed in the era of a painter should have the depth of art.

Since ancient times, innovation in painting has been the only way to success for painters, but it is also a difficult and winding road. This requires painters to establish a good artistic mindset and improve their own artistic cultivation in order to be able to succeed on the road of innovation. However, thousands of painters in history have fallen on this road, even to the death of enlightenment, even if it is an accomplished painter, are often exhausted most of their lives to achieve success, which is sufficient to prove the degree of difficulty of painting innovation. Painting art is the cause of genius and hard work, no matter who, as long as you pick up the paintbrush as a career, it means that in their own life's energy to bet on its success or failure, so be careful.