Claborate-style painting in the literati paintings as authentic in the pattern of traditional Chinese art has always been in the edge position. In Chinese painting, claborate-style painting in the Wei Jin Southern dynasties and northern dynasties and the Tang and Song dynasties had a glorious history, produced Gu Kaizhi, Cao Buxing, Zhan Ziqian, Yan Liben, Wu Daozi, Zhang Xuan, Zhou Fang, Han Gan and Gu Hongzhong, etc. Their immortal works not only for the Chinese cultural treasure left a superb performance rules, also for future generations left a known history of the ancient history of the most real image and spirit.
The decline of the traditional Chinese realistic painting figure painting art after the song dynasty and yuan dynasty and the rise of literati paintings is not purely a problem on the level of art, but a deeper cultural problems. People as one of the most important art symbol art expression of the weakening in China, the first explanation for their own understanding, human affirmation and human perceptual life disappointments, secondly it also shows the Chinese art to the person's performance, after the development to the tang and song dynasty stage need to enrich the new methods of perceptual knowledge and language expression means. So to the transformation of literati paintings and literati paintings in the subject matter of loss cannot be regarded as art updates on performance, but a due to cultural mental problems of the art of restrained and defects in the field of expression. Also should be noted here is that it is essentially the individuality of people trend reversed in the form of a sign (glorious age of tang poetry represents the personality spirit and perceptual quality). After the tang and song dynasty, on the other hand, the expression of the traditional Chinese painting in the person's weakening (content and painting subject matter) is also a cultural awareness of the people is the inevitable result of god light (form). This may seem like a problem, but is a cultural form to people the value of the problem.
The revival of contemporary Chinese claborate-style painting art in the 1980s, also is not a simple problem of art, but a cultural problem. At this time the traditional literati paintings in the art spirit and the artistic form of deep crisis, the crisis is one of the main problems of human expression, and weakening the main and protruding from and the comparison of oil painting. It was at this time, the traditional Chinese claborate-style painting art, taking the advantage of the expression of people in (compare literati paintings refer to oil painting) and launched the modern revival. In the contemporary revival of claborate-style painting, the painter's main body from the academy, tighter sketch modelling trained young generation artists, their advantage in modeling ability, so that they can go beyond the traditional claborate-style painting art (such as the god of light) and the Chinese claborate-style painting art to a historic high. He Guying contemporary claborate-style painting is the most outstanding in the Renaissance. If claborate-style painting is an important branch of traditional Chinese painting, the contemporary China claborate-style painting is on the stage of Chinese painting nadis, and in particular is it implements two breakthroughs: one is the realistic (modern epistemology method) breakthrough; Two person's performance is the subject of breakthrough. Representative artists of this two breakthrough when He Jiaying.
------this passage elaborates his art technique from the following aspects:
1. The primacy of nature and perceptual quality
Culture update trend in the 1980 s, theorists have proposed "traditional Chinese painting to the end of the road". It is mainly aimed at the literati paintings. And the criticism of literati paintings as early as the early twentieth century pointedly proposed, in this regard, reform giant Kang Youwei, Cai Yuanpei, Chen Duxiu, Lu Xun, those great men who are the representatives of “May 4th New Culture Movement”, published the criticism of Chinese painting published revolutionary, and they are all from the perspective of the humanistic ideal, it is a pity that due to the failure of the reform movement, the revolution and “May 4th New Culture Movement” that is not completely makes great men not fulfilled.
Actually the root of the crisis is the crisis of culture of Chinese painting and perceptual poverty. Great art root of western Renaissance, lies in the two found in philosophical epistemology, the discovery of the discovery of natural and human. And there primary westerners on the world view of nature and humanism.
The traditional Chinese painting art is a stylized expression development acme art form. Programming is an art form, of course, be a sign of mature, but the program is not extreme and purpose. Development to the traditional Chinese painting to forget the nature of the visual arts first principles and related perceptual life. And special emphasis on educational background of Chinese painting and the form of law, it is the extreme development of Chinese painting to copy, all kinds of relations on behalf of the traditional law and inheritance transcription and Chinese painting from soup to nuts, dating is a second nature, so long, generation after generation to the second nature, emotional resources of Chinese painting, Chinese painting creation source for what not dried up, Chinese painters from the sense organs for what does not change principle? While western art is not the case, it as early as the Renaissance established a complete set of laws of sketches and sketch rule matching perspective, anatomy, color science, etc. In this way, the western art is a from spirit to law are based on natural primary principles, with sensibility as the regulating mechanism in the form of art. Quintessence of concept is deeply ingrained in the field of Chinese painting, which made a lot of painter bounded by it, and not to the height of the humanism at the traditional art and western art. Indeed, western art was created by westerners, but more importantly it is also a person, is the same as we do, ties, with the people, the same day. In comparison, some western art masters, such as impression after master, master of modernism, specific like Matisse, Picasso, is much more open, they never admit worship of the Oriental art, also do not hide in his art of the Chinese art. This is the strong mentality and everybody style. He Guying have the deep love of Chinese traditional art and profound understanding, but he also is a modern, open cultural attitude of the artist. He met earlier art should be the laws of nature and human nature as a fundamental reason. And he also as the basic aesthetic principles to re-examine traditional and itself. He said: human life is to know the life of the universe, art. Art and life, art and the relationship of the universe, think of it is an artist for a lifetime. He thought: "intuition, closer to god." It also shows that He Guying art also has some meaning to the philosophy of life.
The above level understanding of the art will allow us to witness He Guying understanding of his art into the aesthetic level.
In He Jiaying claborate-style painting art we can find that, in comparison with the traditional he is beyond the traditional aesthetic sense, this is the nature of perceptual beyond, and this is precisely because of his to the laws of nature and human nature as the aesthetic ideas and decision. And the traditional classic claborate-style painting, He Jiaying claborate-style painting works are full of strong perceptual quality and purity. Comparison in traditional art sensibility is cultural, ethical, filtering, masked. Among them, people first is a concept of life and the life of the outside, and in the work of He Jiaying, people first is a perceptual life and the life of inner (human life). He Jiaying art not only in subject matter content the people, and also in spiritual content the people, he made his art really become the people, really have the depth of the study. This is to the person's performance in the structure of language meaning. And compared to generation of many traditional Chinese realistic painting painters, He Guying at this level is very prominent.
As an artist, He Jiaying with sensibility and understanding of nature and man than usual, but he is intuitive way. The qualification is given by the perceptual quality in his human nature, if He Jiaying talented, so his transcendental perceptual quality is the decisive factor of their artistic talents.
Art produced in the perceptual, arouse the human spiritual life in the form of sensibility, reveal the relationship between man and the world the most. As feuerbach said: "art performance in the perceptual things truth". French linguist duff susquehanna even think: "for artists, the invention of the meaning is completely is inherent to the use of sensibility, spirituality inherent technical completely.
The philosopher's point of view looking He Guying art, we can know clearly the aesthetic sense, if we remove the line of sight to the field of contemporary Chinese painting, we will go into deeper understanding level.
2. The female of beauty and the beauty of female
He Jiaying is a both attaches great importance to the subject matter content, and attaches great importance to the content of the painting artist.
In his subject matter content, for women, is the most important and the most outstanding performance. (the art of generalized is included in the art of poetry and literature) on the expression of women has always been an important subject areas. Have at the early stages of the feminist theorists think that this is the product of the patriarchal culture, for the simple proposition I beg to differ. Because the conclusion on the discourse structure is made to social and political ontology problem was wrong. So I think is more important to women's art or the beauty of women, the power of women, women's status in life. From the ancient Greek civilization began to the understanding of women, in the ancient Greek myth in the department of art and the god of love is female, and is the same woman, women are more close to the art.
Although a man to a woman's feelings and love is beyond dispute is the most essential cause of sex, since human beings become a cultural animals, however, to the female's love and affection on connotation is greatly enriched, so from sex expand to the love of virtue, intellectual love and aesthetic.
He Jiaying for women is to have a kind of special and strong desire to express. He thinks the woman is sacred. He will be feeling, understanding, and love to a woman turned to the aesthetic. He is on the expression of women's idealistic, he follows the principles of classical art. His cognition and understanding of women shed the sociological level, in his art world, women are always placed in a space structure, the expression of only natural and women coexist in this structure. Therefore He Jiaying art of women is a natural and divine creature, it is also the objectification of He Guying humanity spirit and personality ideal - at this time people will eventually feel the painter's women in art is beyond the women and pointed to the beauty of life and the sanctity of life.
He Jiaying said, he very like south Tang Li left in words. And said after the subjects of his spirit and artistic influence is very big. People know the tragedy of the poet king as big words of literary history, its art can be said to be the majestic historic, ancient and modern authors. Wang Guowei in his famous "art" the tragedy of the poet king very highly, he said: "the poet, also do not break its pure heart. Therefore, borned in the palace, is longer than the hand of the woman, was left in the shortcomings, that is, to the director of the ci." "So the left word, innocent word also. Others artificial word also." To the tragedy of the poet king Wang Guowei also thought, word and beginning of large, feel so deep. "After word, true to so-called blood enters also." Master Wang Guowei Chinese study after the subjects of evaluation to get rid of the limitations of the traditional culture of ethics horizon and entered the state of life philosophy and philosophy of art.
The state of the plum was subjects of deeply infected and affected He Jiaying hurt feelings accumulate. Make He Jiaying infiltration in the art of a kind of poetic tragedy, the tragedy of women's beauty is without foundation and life lives together. Because of this, they made He Guying female beauty and beauty of a clear dividing line with the drawing. He Guying the artistic expression of sublimation female subject became a female topic, his female theme connotation is rich, it includes the beauty, youth, pure, noble, maternity, civilizing and inner cultivation and so on.
Indeed, people to the understanding of the beautiful and impressive things easily linked with its antithesis, it is this connection has tragedy and fate of feelings, and art is the best continuation and collection of beautiful things for people.
3.The second quality of art and the condition of personality
In philosophical sense all have cultural meaning in the form of the first is rational. In terms of art aesthetic value in the form of a first is rational, otherwise it is no identity, circulating and synchronic. Even the most free, subjective art form. Because in philosophy ration as form.
Compared with freehand brushwork in traditional Chinese literati paintings, claborate-style painting in the form of law, some of the more rational so claborate-style painting art in general and individual temperament is more rational, otherwise he will not be able to adapt to the claborate-style painting forms the strict rules of language.
He Jiaying in nature is equipped for claborate-style painting art, compared with general practitioners in thinking logic and mathematical concepts, He Jiaying is has the strong ability of logical thinking ability, analysis and induction. This is engaged in He Jiaying claborate-style painting art achievement prominent a mental condition.
But He Jiaying character and temperament is an inherently romantic and inner passion, and he through art creation and exploration well realize the unity of the rational form and passion.
Form (rational) and passion (emotional) is a successful artist must first have the quality. But the quality is personality, and non-intelligence aspects. In fact, a successful artist compared their intelligence and personality factors, personality factors often than intelligence factors, this research achievements of modern psychology, and a lot of serious artist biography has been proved that this rule. An artist's talent and qualifications, in fact is the result of intelligence and personality. Biography and general think (including some articles and materials) are exaggerated intelligence factors. Equating talent to intelligence, and to exclude the personality factors, it is the social prejudice and misunderstanding. It is harmful to people's development and growth, is not conducive to the understanding of people and research.
He Jiaying become an artist, and his achievements in art, is the unity of intelligence and personality factors and the optimization example. Need special pointed out that the personality factor here refers to the beliefs, attitudes, values, cognitive style, autonomy, motivation, interest, perseverance, determination, hard work, confidence, love, passion and conscience. Personality factors not only enabled his reason and passion to unification, is also the personality factor makes his art can be fully developed.
Philosopher said: art practice of the intellectual is good. Artists of the good is not instrumental and technical, but give artists a spiritual perfection. Philosopher here will be the artist's intellectual and moral unity, also is the artist's intelligence and personality in perfect unity.
4.The thought and creation of language
The art language is the form of imagine thought
He Jiaying claborate-style painting art in language form, successfully completed the modern transformation. He is on the basis of inheriting traditional claborate-style painting language structure modelling of western law together with (for modern epistemology method), formed both modern aesthetic value and the program of claborate-style painting art language.
For language, Heidegger once asked: in what way the language as a language and happen? Heidegger's answer to the question is: is our language, rather than we said in the language - that is to say language is human and said there, rather than in terms of human language and exist. The creation of artistic language and use should be like this: artistic language is our - and man's existence, rather than we, said the existence of human in the art of language.
He Jiaying artistic language is our - the existence of human language. Such language He Jiaying is entered (modern), will enter our (human nature).
He Jiaying the traditional dip must first from his depth of understanding of traditional master of art spirit, he to be able to master in the art history clue to understanding, read and spirit after lapping master the form of language. He told Gu Kaizhi is extremely admire, cultural taste and personality factors from Gu Kaizhi works see elements of characters. Him as a generalization of Gu Kaizhi character vividly, character style, grooming, and oneness and dumping and art; He also like Zhang Xuan, li kung-lin art, he in their artistic learned a keen sensibility, form of structure, composition, and the expression of line and so on. Author, the inner spirit of tension, tragic Chen Laolian works makes his mind, the mental tension and tragedy makes his figure painting expression with the depth of human nature and rich. In modern masters, Jiang Zhaohe and Huang Zhou had to give him great influence in different stages, in his industry division, he has been in mind Bai Gengyan, Huo Chunyng, Yang Deshu Chen Ke to grasp on HuaLi teachings and taste.
He Jiaying art had good Japanese modern figure painting. But he didn't simply make track for us in the technical level, he paid more attention to learn in our spiritual laws of Japan, Japan's artistic appeal on the elegant, make JingShen and the resulting images of precious feeling all have benefited a lot from him. He was particularly western impressionism right on colour language. He said he had to be two artistic enchantment, one of them is the impressionist paintings. For the newcomer's understanding and the understanding of traditional painting, he formed the colour simplistic style.
He Jiaying is very sensitive to both the form and form the passion of the artist, his understanding of formal language has a unique and profound understanding, this aspect we from his model and applied to the performance of line and understanding, we can see it clear.
His use of line is both traditional essence and creative. In his works the use of the midline has entered a free, he will line expression by shape and ecstasy. In his works, the line is a line, face, and body, and the volume is on line structure perspective to achieve; Line space to express, not rely on light and shade, but in line structure perspective. Met "in a word, the modelling of He Guying online means" not confined by hand, not setting in the heart, but I don't know yet ", "operational profound, handwriting carefully" (tang • Zhang Yanyuan).
He Jiaying from an ancient folios through a slide projector enlarged in the visual impact on the wall, wu arrived CheFu specifications for claborate-style painting aesthetic role, he began to revelation to sharp structural plan to give the modern claborate-style painting to explore new visual aesthetic content. This discovery is very successful. In fact this is a kind of aesthetics in beyond the content of the work itself, it will work the value of thinking in a comprehensive aesthetic environment considerations on its relationship with the aesthetic object and aesthetic space. We from He Jiaying works in the exhibition space can see claborate-style painting art and aesthetic effect in the modern public space phase contact sex, which made his works in the exhibition space aesthetic effect is not inferior to classical painting.
When it comes to "based on realistic freehand brushwork in traditional Chinese painting", some people say that contemporary Chinese painting is really realized Mr. Xu Beihong is a realistic rule change traditional Chinese painting ideal He Guying, but unfortunately not in ideal painting. Said that only the results and didn't say why, but it says the fine brushwork and freehand brushwork in traditional Chinese painting in language ontology's difficult to compatibility, in other words, it is impossible to completely ideal painting in the realistic value of - this could be Mr. Xu Beihong did not think of.
5.conclusion
Mr. He on philosophy of life is an idealist, the outlook on life and qualitative combined so that he naturally inclined to classical aesthetic principles. The meaning of classical Chinese painting is in error, radical... it with equal to conservative, but this is really big. Actually in the dictionary of art established by the classical classic definition is Renaissance humanism spirit and principles of art, when people talk about post-modernism and its art, in the face of China's reality and the crux of the problem, I think, humanism still is the crux of the problem in China, so the depth of the human nature and the human is also the crux of the modern Chinese art. Based on this understanding, I don't think He Jiaying art but beautiful, and with modern cultural value.