Keywords: traditional new traditional experimental ink painting
As an artistic creation of continuous exploration and development, there are still many uncertainties in the modernization of China's landscape painting. Therefore, any attempt to explain this developing artistic phenomenon may have some one-sided tendency. However, it is of great practical significance and research value to pay attention to the contemporary trend of Chinese painting and how to inherit the traditional artistic spirit of China. Especially in the current situation of cultural globalization, it is more necessary to explore how the ancient Chinese civilization preserved the inheritance of its own cultural core.
China's traditional artistic spirit has experienced thousands of years of development and evolution, and has become a strict system. Mr. Li Zehou once pointed out: "China's aesthetics requires the unity of beauty and goodness, and the so-called highest state of goodness, although Confucianism and Taoism have different views, boils down to the ultimate goal of' harmony between man and nature'. The difference is only how to reach this realm and the understanding of the significance and value of reaching this realm. " Moreover, various schools such as Yin-Yang, Five Elements, Buddhism and so on all contain the concept of "harmony between man and nature". As the highest aesthetic realm or life realm, "the unity of heaven and man" is formed through the propaganda of Taoism. To this end, the author has further thought: "What can really make it reach the highest aesthetic level is the Taoist thought of' the unity of man and nature' with Zhuangzi's philosophy as the mainstream. Zhuangzi took it as his duty to oppose alienation and advocate absolute freedom, and took the lead in taking "humanized nature" as the aesthetic object. In the history of China's cultural thought, He clearly put forward a super-utilitarian attitude towards life for the first time. This aesthetic thought was absorbed by the later Zen Buddhism and had a far-reaching influence on China's traditional aesthetics and artistic theory. (2) It should be affirmed that "China culture takes Confucianism as its basic content, and constructs the traditional artistic thinking mode and the basic framework of artistic spirit with the spirit of Tao. In the future, Taoism, Buddhism and Confucianism complemented each other, which enabled this traditional artistic spirit to be shaped and improved. " (3) For thousands of years, the spirit of traditional culture can be said to have permeated various artistic styles in China, including painting, from calligraphy to painting, sculpture, dance and music. All of them have been influenced and nourished by it, and the traditional painting theory has also benefited from the influence of China's traditional spirit. For example, Sheikh put forward the "six methods of painting" in the Catalogue of Ancient Paintings, the ancient theory of "pen and ink" and so on. Image, verve, ethereal spirit and realm (artistic conception), as the main aesthetic categories of traditional artistic spirit, fully embodies China's unique oriental artistic charm and complements Taoism, Buddhism and Confucianism.
Looking at the artistic pattern of China's paintings at the end of last century, it is not difficult to see the trajectory from scar paintings, local paintings, rational paintings and experimental ink paintings in the 1980s to Dadaism, gaudy paintings, playful realism and political pop paintings in the 1990s. At the same time, landscape painting artists are also practicing an unprecedented hard road in the modernization and modernization of Chinese painting, groping for their own artistic orientation in the constant changes of contemporary painting in China, creating a new round of contention among a hundred schools of thought, with gratifying results. However, various arguments have never stopped. "Pen and ink equals zero" and "keeping the bottom line of Chinese painting" are still a major focus of long-term debate between artists and academic circles. There is no denying that argument will bring a power to break through the shackles-and this may also be a theoretical resource that is urgently needed for artistic creation at present. In the contemporary aesthetics of cultural convergence and diversification, the artist's own artistic position will determine the direction of creation. Whether consciously or unconsciously carrying forward the spirit of traditional art is always of vital significance for cultural inheritance and active innovation on the basis of inheritance.
After the development of Chinese painting in modern times, it is faced with the dual pressures of western theory, western production methods, writers' works and how to modernize and modernize Chinese painting. China's paintings are always struggling in the process of constant impact and self-reflection. Since the beginning of the 20th century, there has been an artistic style combining Chinese and Western styles. For example, Wu Guanzhong once commented on Lin Fengmian's works: "It is an attempt to digest western painting forms with the vivid charm of Chinese painting." (4) In fact, a large number of painters in modern times are trying to practice this creative path. From Gao and Lin Fengmian to Fu Baoshi and Li Keran, it is not difficult to see that their exploration of transforming the connotation of painting with the vivid charm of Chinese painting is admirable. Based on traditional landscape painting, the author introduces some artistic aesthetic laws of western painting to achieve a new creative concept of appreciating interest, which is called "oil painting consciousness". This creative orientation is called "new tradition" by Mr. Shu. Other creators of traditional Chinese painting stay in the position of traditional culture with literati painting or New literati paintings's artistic spirit. "Nature is made by foreign teachers and the heart comes from China" is still the belief principle of "traditional" painters. Pursue the vivid effect of pen and ink. They imitate the "verve" of Wei and Jin Dynasties, immerse themselves in the poems of Sui and Tang Dynasties, inherit the "Song People's Law", follow the footsteps of Yuan, Ming and Qing Dynasties, and move forward step by step in a noisy post-modern jungle. However, the creators of "experimental ink painting" broke through the shackles of "pen and ink" and cultural identity with fearless spirit, and boldly carried out the integration of Chinese and Western. They take pen and ink innovation as their own responsibility, respond to the cultural transformation of China's artistic modernization, and satisfy the "flattening" desire in the image age. Nevertheless, there are all kinds of unhealthy tendencies on the road of spiritual practice. Some artists wear the cloak of "innovation", copy the style of famous artists, fall into the mud of formalism and lose the independence of artists' creation. Some painters regard color and sex as abilities, over-exaggerating and attaching to the low-level taste of consumerism, which leads to the "demonization" of the theme of sex. In such a chaotic painting pattern, we can't help asking whether "experimental ink painting" has been far away from the traditional artistic spirit of China and no longer adheres to "local consciousness". Does experimental ink painting really abandon the traditional aesthetic ideal and become a wanderer in the art world, as some critics have said? Or is "experimental ink painting" the only way out, as some people claim? As an ongoing art activity, it is incomplete or even destructive to draw conclusions on these prematurely. Of course, based on respect for artistic creation, it is undoubtedly necessary to encourage experimental innovation, which may be one of the driving forces for the development of Chinese painting.
As we all know, "image" first appeared as a philosophical term in ancient China, and it has become an important aesthetic category in China's traditional literary theory and poetic theory after continuous interpretation and evolution by scholars. The Zhouyi is the earliest historical origin, emphasizing the philosophical connotation of "image", which is a typical "image thinking" different from western rational conceptual thinking. And Liu Xie really brought "image" into the art world. He put forward in Wen Xin Diao Shen Long Si: "A craftsman who takes pictures alone and peeks at the image will get lucky." It can be seen that "image" is an artistic image, and "meaning" is the connotation of the work. Si Kongtu's "image is natural and strange" also brings meaning and likeness into the concept of "image". At the same time, "image" provided the aesthetic and thinking basis for China's traditional painting theory, and had a far-reaching impact on China's theory of "pen and ink" in painting and calligraphy. Zhang Yanyuan said: "Five-color ink is a truth, which means pride. Interested in five colors, the image is good "("Famous paintings of past dynasties: on the application of painting style? Write "), praised the expressive power of dark and light ink. Another example is "Painting should be freehand, don't write the ear shape" (Tang Zuo's Painting Guide and Painting Theory), which emphasizes "similarity in spirit" rather than "similarity in shape", which is the theory of seeking God by freehand brushwork. It can be seen that considerable Chinese painting is not famous for its heavy color and dense description, nor is it satisfied with simple modeling. Generally speaking, the spiritual observation of China's painting is essentially divorced from the thinking of painting itself, and establishes the image grasp of painting as a mental state. "⑤ In the new era, this understanding and grasp of images has gained new understanding and new breakthroughs in creation. For example, the "line drawing" style of Mr. Dong Xinbin, the leader of the contemporary "Southern Line" painting style, can be said to be the first to open the atmosphere. 1985 Liu Haisu commented that his paintings "can devote themselves to transforming the past into the new, and the lines made are quite smooth, with a style of northern monuments; "Thick ink is transparent, light ink is moist, and the charm is refined." He broke through the influence of traditional established procedures, tried to release his inner feelings with pen and ink, chopped with a big axe, overcame complexity with simplicity, and showed supreme spiritual pursuit in the wild, hoping to achieve the realm of "harmony between man and nature". His Return from the Sunset is rendered in thick ink, with far-reaching artistic conception. On the other hand, carving the moon and living in guest houses are heartfelt and have the heritage of the ancients. The use of capital pen and ink shows the painter's feelings of compassion and Taoist inaction. However, his handsome sketch, exquisite structure, and the use of Chinese painting techniques win with freshness, simplicity and liveliness, giving people a smooth and perceptual aesthetic feeling. Gui Zhoutu is quiet and peaceful. The dotted lines in Plum Blossom from the Dark Sprinkle reflect each other, and the pen and ink are bold and unrestrained, emitting a lively atmosphere of life. Invisibly combines the skills of literati painting, institutional painting, folk painting and western painting. Dong Xinbin's role as a scholar has contributed to his historical mission of inheriting China's artistic spirit. He once said: "Not saying thank you is not only a judgment, but also the responsibility of a China person." ⑥
Jia Youfu Li Keran, another contemporary master of landscape painting, created a creative technique of "black discourse", that is, "black is white". Different from the previous principle of "counting white as black", he highlighted the aesthetic image of "black" with minimalist structure and ink accumulation, and reproduced the great momentum of traditional landscapes. Deduct the profound and desolate weather into ethereal and magnificent beauty, and pursue the realm of transcending time and space and "winning people's hearts" in the simple flow of lines and the smooth and free rendering of thick ink. In the loud voice, the heaven and the earth want to connect, the rocks are stubborn, the clouds are like chaos, and the heaven and the earth are like opening and closing. The viewer appreciates the exquisiteness and infinity of nature in multidimensional time and space. Just as the painter said: "Empty people with spirituality are like gods. Empty people are not stubborn and do everything. Empty is omnipotent, and useless is useless. Space and color, nothingness and existence are mutually useful because it is useless, because it is useless,' space is not different in color' and' color is not different in space'. It is easy to understand whether there is mutual existence. " ⑦
Different from "image", "ethereal" expresses an appreciation psychology of China traditional literati aesthetics. The aesthetic effect of ethereal comes from the perception of religion. The profound meaning of Buddhist teachings first endows the empty world with a mysterious beauty full of life aura, and the great wisdom of Zen runs through between reality and nothingness, transcending the boundary between existence and nothingness. "Emptiness" originates from Buddhism's "four emptiness" and is the pure image atmosphere of aesthetic photos. "Spirit" shows the free state of life gas field. The concept of "ethereal" permeates China's art, which is manifested in the artistic realm of constantly conveying the aura of life in an ethereal, quiet, pure and broad atmosphere. The meaning of "ethereal" in painting is reflected in the interaction between the spatial layout of the scenery in the painting and the viewer's spiritual world, and the pen and ink meaning of "counting white as black" and the elegance of "line" are emphasized. Guo put forward the creative principle of "there are three distances between mountains" in Lin Zhi: "From the foot of the mountain to the top of the mountain, it is lofty; Looking at the mountain from the front is far-reaching; Looking at the mountain near the mountain is called Pingyuan. " Therefore, the creative principle of "three distances" presupposes the physical space for "ethereal"-the overall intuitive materialized form between the text and the audience. In the picture, it reflects a blank, a cloud, a stream, a mountain ridge, a waterfall, a clear spring and other tangible physical carriers. In the eyes of the viewer, from the still picture, we can realize that life is a never-ending pulse and the wind is a rolling cloud. Pavilions, small bridges and flowing water, and architectural pavilions are all integrated into simplicity and agility. The viewer is enjoying these rich and meaningful materialized forms, which leads to some ethereal pursuit from reality to emptiness and from emptiness to reality, and then obtains the holistic view of the work. The consciousness of "line" in the middle runs through the whole process of China's painting art, and the aesthetic criterion of "using bone and pen" constantly calls for the rhythm of line. The creative methods such as "eighteen strokes" and "eighteen methods" summarized by the ancients fully tapped the charm of Chinese painting lines. Through the combination of line density, thickness, length, vertical and horizontal, convergence and divergence, virtual reality and Fiona Fang, diversified rhythms and rhythms are formed, resulting in different aesthetic feelings. The operation process of lines needs different strokes, such as light, slow, skillful, smooth, dry, wet, soft, hidden, beginning, end, smooth, rigid and soft, to create the aesthetic feeling of lines, endow them with emotion and artistic charm, and show the spatial consciousness of "moving far away from near, knowing far from near". When appreciating these "visible" lines, the appreciator realizes the artistic interest of lines from imitation to abstraction, and from form to implication, which is called "Imitating the Too Virtual Body with a Pen" (Wang Wei's "Painting Description"). Therefore, the composition of China's landscape paintings is no longer limited to expressing the reality in the linear movement of the life gas field, but based on the virtual reality, and the virtual reality coexists. For example, in Jia Youfu's "In the Deep Valley", the painter naturally adopted "go deep into the tradition to the maximum extent and stay away from the tradition to the maximum extent; Go deep into life to the maximum, and go beyond life to the maximum; Maximize yourself and get out of your attitude. " Pet-name ruby slightly abstract composition layout, give Shan Ye boundless space between square inches, from inside to outside the painting, and pursue the "taking potential" and "containing potential" learned by the ancients with modern aesthetic photos.
The art of controlling "color" in contemporary Chinese painting, the most striking is the series of "Chinese painting landscape" and "going up the mountain". Between the majestic mountains, the sunset glow blends with ink and wash, creating a fascinating memory scene. However, Guo Xiyuan's landscape painting "Mountains in the Deep Connection between Heaven and Earth" directly follows the two-stage composition of Ni Zan's "Autumn Map of Fishing Village", and adopts a flat composition, with a few nearby rocks and a vast lake in the middle, and the distant mountains are placed at the top of the picture, which constitutes a dichotomy composition, which makes the picture have a quite broad and far-reaching artistic effect. As a scholar painter who pursues tradition and has a lot of research experience, Ruan Rongchun's artistic practice also attracts people's attention. It is Ruan Rongchun's consistent pursuit to stick to the tradition of Chinese painting since Wei and Jin Dynasties. In today's painting world, graffiti in the name of innovation is not uncommon, and it is difficult to distinguish between true and false. He can adhere to the spirit of China's traditional art, innovate in inheritance and inherit in development, which is undoubtedly worthy of his praise. Han Zhuo said in "On the Disease of Pen and Ink Charm" that there are eight patterns in the painting: "The stone is old and moist, the water is clear, the mountain wants Cui Wei, the spring wants to fall, the cloud wants to smoke, the wild path is circuitous, the dragon and snake relax, and the bamboo hides the wind and rain." Ruan Rongchun's works strictly follow the requirements of these techniques. In his meditation, figures and landscapes are integrated, and figures stand or sit, enjoying waterfalls and mountains, and meditating and realizing the Tao. A wisp of cloud extends from the painting, showing the mysterious realm of Tao in silence. He put forward the ideas of inheriting Chinese painting, such as righteousness, literary spirit, quietness, Mo Yun, verve and verve, which embodies the conscience and artistic integrity of intellectuals who have been immersed in art colleges for a long time. In addition, the rigor and meticulousness of "courtyard painting" is also advocated by painters. For example, in his "Mountains rise high", he is good at meticulous brushwork. The mountains are undulating and progressive. The waterfall in the mountain is like practice, plummeting, and the white clouds lock the waist. The picture is lofty, far-reaching and peaceful, like the vast picture scroll of the Song people, showing the meaning and elegance of life gas field in the mountains and cliffs and the clouds around the trees. In Spring Rain, the pursuit of elegance and purity, one pavilion and one bridge, hanging over waterfalls and flowing, has both profound and lofty traditional interests. Under the current trend of diversified artistic creation, it is really commendable that Ruan Rongchun can still adhere to the traditional Chinese painting line and actively innovate.
The new traditional creation has not lost its traditional spirit as people worry. As one of the successors of Li Shanshui, he deliberately manages his own characteristics in the exploration. He inherited the tradition of "accumulating ink" in Li Keran, and made bold innovations, such as the series of "ink and mountains", which was called "thick painting" by Mr. Wang Luxiang. [10] Transform the consciousness of the times in the traditional landscape theme. As Hegel once said: "When using such themes (ancient themes), painters must transform them into something else and put them in a completely different spirit, emotion and way of looking at things from the ancients themselves, so that the content of this theme can be consistent with the real task and purpose of current painting." [1 1] It conforms to the aesthetic style of the image age, is abstract and fuzzy, and has become a major feature of Li Baolin landscape painting. Many of Huang Gesheng's works are also successful works that pursue the combination of "color" and "tradition". In its "Ancient Garden Spring Series", the old tree house pavilion is lush, beautiful and graceful, full of elegance. This reminds people of Wang Guowei's view on the realm: "The realm is not the only scenery. Emotions and sorrows are also one of the realms in people's minds, so what can describe scenery and true feelings is called realm, otherwise it is called realm. " Although Wang Guowei only expounded this concept from the perspective of Ci, the "realm" completely transcends a single artistic style and has spread in almost all fields of China traditional art, and the theory of "realm" originated from "artistic conception". And "artistic conception" has a long history. In the poetics of Tang Dynasty, Wang Changling put forward that "poetry has three realms" in his poems. Namely, physical environment, situation and artistic conception. It is believed that the physical environment is similar, the situation is deep, and the artistic conception is true when you think about it in your heart. Since then, the theory of "Three Realms" has entered the field of China's painting criticism. By the Song Dynasty, Guo had put forward the theory of "realm" in Lin Zhi, saying that "when the realm is ripe, the mind and hands have a reaction, it will be moderately vertical and horizontal, and right and wrong will not be distinguished". With the vigorous development of literati painting, Yuan Dynasty painting emphasized "meaning first", "spirit pursuing similarity" and "escape first", required works to have "ancient meaning" and "morale", and attached importance to the painter's subjective interest and expression of thoughts and feelings. [12] Da Zhongguang, a man of A Qing dynasty, said in Painting Tsuen Wan: "It is difficult to draw a virtual picture, but the real scene is empty; God can't draw, reason is forced, and God is born. The position is similar to Geng, and most of the paintings belong to warts; Virtual reality and reality are born, and no painting is a wonderful place. " Therefore, "artistic conception", as the carrier of artistic beauty, has become one of the yardsticks of China's painting aesthetics and has always been valued by scholars. There is no doubt about the vitality of artistic conception theory, which is still paid special attention to by China painters. For example, among contemporary landscape painters in China, Zhu Daoping is good at using "color dots" to express his understanding of artistic conception. His works are often dense, like flying all over the sky, in a fantasy. The density of yellow dots in the golden autumn constitutes a picture of memories, which shows that he was influenced by Dong Yuan of the Southern Tang Dynasty. And "the mountains are clear and the water is empty, and the northern sand is seen" also has the lofty realm of the ancients. Even john young, who has the most "oil painting consciousness", still shows his attachment to China's artistic conception while integrating western painting methods, such as the light sketch in Overlooking, which is like the wind crossing the lake, wanton compassion and pen power in chaos. Rain Mountain Spring gives people a kind of sensory impact quite similar to western impressionism, while the village stream and the distant mountains behind it regain the ancient landscape image. John young successfully integrated the traditional fracture of form and content. From a certain point of view, he is also practicing the modernization of traditional landscapes, which is of far-reaching significance. Therefore, the infiltration of "oil painting consciousness" may bring two influences to landscape painting creation. On the one hand, it endows the works with visual impact effect that traditional landscape painting can't achieve, develops the new charm of modern landscape painting art and expands the expression of traditional artistic spirit. On the other hand, the guidance of visual experience may also produce formalism. That is, artists can't give consideration to the combination of skills and connotations in their works, and blindly lead to the whirlpool of formalism, thus breaking the traditional artistic spirit in their works. For example, some artists completely disobey the rules and act recklessly in their pictures. They are euphemistically called "postmodern ink painting", but under the fashion banner of "postmodernism", "fast food" and "deconstruction", they can abandon all creative principles in their works and completely lose their artistic appeal. Some critics even add fuel to the flames and put them in the ranks of "experimental ink painting", which is really a humiliating experiment. After 1980s, with the surge of western modernism, traditional painters in China boldly introduced experimental abstract ink painting when they realized that blindly worshiping the past could not surpass their predecessors' achievements. In 1990s, when critics and painters tried to define this open concept, experimental ink painting had been developed for many years. In fact, the concept and creation of experimental ink painting appeared in the late 1980s. Avant-garde artist Gu Wenda initiated experimental ink painting with subversive actions in 1980s, and became a model of abstract ink painting in China in 1990s. Gu Wenda's eclectic freedom reveals the independent personality that China literati have always followed since Zhuangzi pursued freedom and infinite "great beauty". In addition, western consciousness has inadvertently become a catalyst for artists to seek innovation and change. Therefore, it is the indirect result of the collision between eastern and western cultures to re-examine local art and make a new interpretation through foreign ideas. Wang Chuan, who was engaged in oil painting in his early days, promoted the development of experimental ink painting from the perspective of expressionism. The involvement of Buddhist consciousness has influenced the painter's creative thinking. 190 held a large-scale solo exhibition "Ink Spot" in Shenzhen, integrating installation, behavior and abstract ink painting, which became the symbolic starting point of China's conceptual ink painting experimental movement in the 1990s. Wang Chuan combined traditional religious images with abstractionism, showing the rhythm of "line" in traditional painting. In the contrast between the shade of ink and the dryness and wetness, those seemingly straightforward lines are both stretched, elegant and bitter, in an attempt to expand the imagination space of lines with a modern thinking that is closer to the philosophical pursuit of contemporary people. Later, Wang Chuan became a Christian. He used ink materials, words and lyrics to express a China. Another important painter, Liu Zijian, tried to break through the shackles of "pen" and "ink" and announced his escape from the traditional linear aesthetic standard by marking the theme of "black space". However, the painter's inheritance of tradition has not been lost in the obvious rebellion. The chaotic combination of ink and color seems to be the best footnote to express the modern version of oriental mysticism, but some "black" meanings are suffocating, which makes some commentators disagree. Liang Quan's works obviously emphasize the concept of "emptiness", which some people interpret as "ethereal", but it is actually inaccurate. This kind of "emptiness" seems to be something empty, not empty in the real sense. The background shows the ingenious display of modernity, and he seems to be trying to maintain a "quiet" Buddhist aesthetic orientation behind the wall of "pen and ink". Take the law and nature, hide the understanding in it, and strive to realize the invisible confluence of abstract consciousness and traditional world outlook of harmony between man and nature. But whether it is effective or not can be said that there are different opinions. You say he is modern, he can't abandon tradition, you say he is traditional, and he conveys extremely abstract concepts. As a contemporary painter, Li Huasheng is unique. In his works, the metaphor of "line lattice" is refreshing. After removing the external images, symbols and people, he only has a single regular line and trace, but he retains the traditional use of materials and lines. Looking at his works, people feel as if an image and technique similar to retro is impressive. The most interesting thing is that he used various arrangements on the basis of the internet and awakened Zen by experimental methods, which implies that tradition is also developing, not that only the ancients are superior, but the thinking direction and artistic exploration of modern people can also create a new atmosphere. If we can expand and create in the traditional artistic spirit of China, we will certainly create a new contemporary painting culture which inherits the tradition and is rich in the characteristics of the times. For example, Fu Xiaodong, a contemporary female painter, shows the sadness of industrialization in a slightly confused state in her work Mechanical Life. The deliberate enlargement of the ruins in Tiexi District and the disorderly interweaving of garbage lines and waste pipes create a modern desolate environment with some anti-alienation enlightenment. Who can say that the deep-seated expression of modern people's spiritual desolation in the picture is not the painter's perception of the universe and life? All these painters tried to reach the other side of the "elephant" through the transformation of traditional techniques, but the elephant's thinking still conforms to the self-satisfaction advocated by cultural fundamentalism. However, if the three groups of black, big and ink are regarded as pure abstractions, or as a new form of expression to imitate western skills and artistic pursuits, it is not only far from China's traditional artistic spirit, but also difficult to form a real breakthrough. On the contrary, it is easy to go into the strange circle of misreading "pen and ink innovation", which makes China's landscape paintings neither fish nor fowl, and at the same time, it will lose many ornamental groups who love China's landscape paintings and lead the expansion of landscape paintings astray.
Since the new era, China landscape painting seems to be developing abstract ink painting on the one hand, and paying attention to realism on the basis of traditional ink painting on the other hand, and integrating into modern thinking. In some exhibitions held in recent years, abstraction is still the way that artists pay attention to. However, we inadvertently see that the shadow of tradition is hidden from time to time, and an abstract landscape painting that pays more attention to tradition is gradually forming its own unique artistic style that can be in line with the international painting world. Various exhibitions and seminars to promote the development of contemporary ink painting have given enough recognition to experimental ink painting, and some exhibitions are also echoing the artist's creative passion. Among them, Shenzhen Ink and Wash Biennale can be described as the greatest achievement. Relying on the geographical location of Shenzhen, an open special zone, the exhibition aims to push traditional ink painting into the contemporary era and the world, organize artists from China and dozens of countries around the world to explore the development space of ink painting in the contemporary cultural ecology with various new artistic creation forms, endow this traditional art with new concepts, enrich its connotation and expand its expression forms. Since 18, six exhibitions (including four Shenzhen International Ink and Wash Biennales in 2000, 2002 and 2004 and two international ink and wash exhibitions in 1988 and 1992) and corresponding academic activities have presented "Urban Landscape Painting". And produced a large number of excellent experimental and avant-garde works, but we should also rationally see that there are still traces of imitating western modern and post-modern paintings in experimental ink and design ink, and ink balls are still piled up and unclear. Of course, the Shenzhen Biennale is challenging and groundbreaking in general. Its greatest significance, as some critics have said, is that we begin to face up to reality and urban culture and explore the possibility of depicting contemporary things with traditional pens and rice paper. However, as a strong message conveyed by an art exhibition, we should not give up tradition in the process of modernization. Only when they are organically combined can the unique form of China traditional painting develop healthily.
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