The so-called "edge" is a deviation from the mainstream from the linguistic point of view. Chao Ge absorbed and studied European classical oil paintings, and fell in love with those painters and works with "non-classical" and "non-classical" nature. For example, he likes the works of painters in the early Renaissance better than in its heyday. He thinks that the imperfection of the former structure and the inclination of some factors are more powerful than the high stability of the latter structure and the high harmony of the language. Similarly, he is more interested in northern European painters such as Diu Lei and holbein than southern European painters such as velazquez, because the former's concrete description of the body is more profound than the latter's generalization and perfection. Art absorption is always selective. For painters, the choice of a certain visual language is actually the choice of artistic spirit. Chao Ge's "deviation" in the classic field shows that his self-psychological state also has "deviation" from the normal place.
This situation can be traced back to the early pedestrian art in Chao Ge. When he was studying in the Oil Painting Department of the Central Academy of Fine Arts in the early 1980s, he showed something unique. At that time, his oil painting skills were not skilled, even a little timid, but some factors belonging to his nature had overflowed in his works. The images in his works always have a sense of insecurity, some of which are damaged and distorted. He can't seem to draw beautifully, smartly and easily. Facing objects, he wants to describe their appearance, but his subconscious always tries to touch the spiritual things hidden behind the surface of objects. What is that? Not exactly, but it is true in his perception. However, the ghosts' shadows slipped away again and again, which made the painter catch them nervously. As a result, what remains on the picture is not the image of the object, but the visual trace of the painter's self-consciousness. As a student, he doesn't seem to meet the requirements of teaching. He knows that painting is always not smooth because his feelings are bumpy and turbulent. He devoted himself to the exercises that should have performed well, but his inability to express his feelings brought him new distress. Such an artistic beginning is indeed painful for Chao Ge, as if he was destined to embark on an uneven artistic road from the beginning. However, before his oil painting became famous, his sensitivity and persistence in a sketch and sketch surprised his classmates and teachers. On the way of learning art, especially in the atmosphere of university teaching, personal endowment can easily fall into a certain style and become a fixed aesthetic taste, and artistic feelings can easily lose their vividness and agility in strict artistic skill training. In a word, the college can not only cultivate excellent painters with high professional level and strong comprehensive ability, but also cultivate mediocre people with more craftsmanship than artistry. Chao Ge's acceptance and creation in the university environment can't surpass the overall ideal of China's oil painting in a certain period, but he can stick to his own nature silently, preferring to paint clumsily and deliberately, and fix his artistic mode in a hurry. This laid a solid spiritual foundation for his later artistic development.
The dividing line between normal mental state and abnormal mental state is the hotbed of artists. Lonely people suffer more in this hotbed. If a person's inner world is too complicated, he will wander in this marginal zone for a longer time and sink deeper, and the anxiety and uneasiness that cannot be detached will become a disorderly state in the spiritual space, causing consciousness to fall into a deep division in freedom and collision.
The split consciousness can only be bridged or alleviated through communication with the outside world. However, the real space of people's lives has lost the communication conditions in the abstract sense-in an era when everything is in a hurry, people are entangled in trivial and mediocre things in their daily lives, and they have no time to take into account the existence of ideas when they rush to life and add the hustle and bustle of life. The pursuit of lonely people can only find their helplessness and helplessness again and again in the face of the wave of value loss and cultural collapse ... the exploration of communication with the outside world finally returns to themselves. Therefore, the lonely man's emotional world is a secret world, and the mysterious passage between him and his art is inaccessible to others.
According to his temperament and personality, Chao Ge belongs to a modern literati painter, and can also be called an intellectual painter. The so-called "intellectual painter" refers to the special mental state formed by neurotic and sensitive people in the predicament of contemporary civilization. They will not be easily hijacked by material interests, but they will easily fall into the maze of survival, emotion and love for a long time; On the one hand, they enjoy the high knowledge and information given by civilization, on the other hand, they are squeezed by moral hypocrisy and abnormal development of cultural ecology in their lives; They tried to give up their direct feelings about the gloomy situation and put their lonely hearts into soothing dreams, but they had to cross the turbulent water more than once to open up a mysterious way of existence; They are a group of people who are psychologically unbalanced and helpless in their spiritual world. They live in contradictions such as belief and negation, public and personal feelings, sense of history and reality, self and surrounding environment, self present and then. Anxiety and confusion are the fatalistic states that they can't escape ... Chao Ge is one of the typical examples of this isomorphism of schizophrenia. As a painter, he hopes to save himself through painting, and only painting is the carrier of his heart. He has checked the works on grassland and painted many human bodies belonging to academic painters, but the portraits, especially those of intellectuals, can best reflect his artistic temperament and meet his psychological needs. He, an intellectual painter, finally found inspiration in his peers and people in the same spiritual life circle. In this portrait, he reveals the psychological reality of contemporary intellectuals: they are trapped in the secular world and eager to surpass, but they are not afraid and resist the outside world when they are powerless; Their own indifference is marked by the indifference that it is difficult for people to communicate with reality in an era; Their fate tragedy in the disintegration of value is not only a whole, but also an individual, whose soul is making the final insistence in the face of fate ... This portrait is also a self-portrait of Chao Ge to some extent.
No matter from the external characteristics of the times or the quality of the work itself, Chao Ge's Sensitive Man, created in 1990, will be one of the most important contemporary paintings in China. It can be seen that painting has changed from depicting the visible behavior world to examining the invisible inner life, and portraits in painting have changed from expressing the personality characteristics of characters to revealing the homomorphism of theory. It is not the image code of general philosophical meditation, but the painter's psychological compensation as sensitive person; It is not a temporary and trivial feeling, but a concentrated and highly spiritual psychological structure.
This abstract way of communication is embodied in Chao Ge's artistic language. The first is the space where his works approach and tilt. The characters in the painting are not positive from top to bottom, but slightly develop into the depth of the picture. This high viewpoint brings a sense of tilt, just like the image you see in the mirror approaching you. There is almost no distance between the painter and the audience, and the cramped space for the painter is in front of us. He looked alert and rushed at everything, and his neurotic eyes made us feel uneasy. In fact, in Chao Ge's other works, there is a similar feature, that is, the close-up view and slightly overlooking view are used to break the balance and arrange the characters in an inclined and compact space. This compact and inclined technique in composition and modeling is not for creating peculiar visual effects, nor for formal consideration, but a way for him to ease his psychological instability and is a visual expression of his subconscious mind. Secondly, Chao Ge is also particularly sensitive to the "line" of objects, especially paying attention to the outline of the painted image. The starting point of his observation is almost the outline of the object. He clearly separated the characters from the background with contour lines, implying the alienation between people and the outside world. At the same time, the contour lines around the characters are not ups and downs, and the generalization is loose, but there are subtle and concrete changes, which reflect the vitality of life in contact with the outside world. In addition to the contour lines, Chao Ge can "see" many "lines" from the objects and affirm them. At the turning point of the body, the intersection of light and shade, and the changes of clothing and accessories, the existence of the body is revealed by "lines" instead of "faces" to cover the shell of the body. Only introverted and single-minded people have a special love for lines, because lines are more realistic, calmer and more abstract than light and shadow-this principle of visual psychology is exemplified by Chao Ge. For Chao Ge, "line" is full of the meaning of life. They touch his sensitive and fragile nerves like slender tentacles. The third kind can be called "tight brushstrokes". Like all realistic styles, Chao Ge pursues fullness and fullness in modeling, but out of his requirements for physical texture and touch, he uses compact and continuous brushwork to create a sense of relief between plane and volume. Tight strokes are also subtle color changes. It seems that he has no deliberate pursuit of color, but only reduces the purity of color through sub-processing, and makes partial contrast with gray, thus forming the uncertain tone of the overall width. Close brush strokes and continuous contrast between cold and warm make the color tendency and texture density of the picture form a close atmosphere, which improves the spiritual temperament of the painted characters.
Portrait of the Intellectuals is a psychological portrayal of Chao Ge, from which we can see that the painter is so attached to the edge of contact between people and the outside world, the edge of connection between spirituality and materiality. His artistic expression starts from this edge and ends at this edge. However, from the analysis of all Chao Ge's works, we can find that it is not enough to regard such works as the main body of his art. sensitive person's psychology is self-enclosed, self-troubled, and sometimes even depressed. When creating a portrait, it's like looking at yourself in the mirror. It has brought a slow release of psychological emotions to Zaige. But at the same time, he also yearns for a broader space, hoping that the soul can bathe people's fantastic imagination and comfort the natural embrace of the soul. This is to let us see that Chao Ge's artistic theme is complementary to the portraits of sensitive people-the big scenery he painted. Many landscapes and symbolic figures, including atmosphere and splendid cities, have infinite space and stretching dynamics. The width of the landscape exceeds the realistic vision, and the stretching action of the characters overflows the air and breath in the landscape. This kind of work is not common in Chao Ge's art, at least it is incoherent, but it appears non-stop in portrait creation, which further proves the inevitability and therapeutic significance for painters to use them to adjust their own psychology. These two works with completely different spaces and situations constitute the complementary structure of Chao Ge's art and the mixture of dream and reality, which is not common among contemporary painters in Chao Ge. Milan Kundera once said when talking about the novels after Proust: "With Proust, a great beauty began to slowly leave, which is beyond our reach. This is an eternal and irreversible parting. " Chao Ge's redemption of "great beauty" in Scenery in the Wind is not a philosophical meditation, but a psychological statement eager to transcend existence. He is on the edge of normal spirit and realistic language, which makes his paintings full of special significance.
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