The key to the innovative development of contemporary Chinese art is to solve two major issues, one is the connection between China and the West, and the other is the integration of ancient and modern art. As a true academic in the painting world and a leader in contemporary heavy-color painting, Liu Xiaogang's painting art practice provides useful reference and inspiration for solving these two major issues and exploring an innovative path for contemporary Chinese painting.
The height of academics determines the height of art. How to improve your academic level and refine your artistic level are nothing more than the teachings of masters and the nourishment of culture. As a pure scholar-artist, Mr. Liu Xiaogang has always adhered to the concept of academic supremacy and theory first. He studied under Tian Jialin, Li Kuchan, Yu Xining, and Lou Shibai since childhood, and worked hard to study various traditional theoretical classics, and constantly learned from them. Draw artistic nourishment from it. After graduation, he engaged in the research of oriental aesthetics in the Department of Eastern Languages ??and Literatures of Peking University. He was deeply influenced by the ideological heritage of the century-old university and the teachings of the older generation of scholars such as Li Zhimin, Ji Xianlin, Zong Baihua, Chen Yulong, and Yang Xin. He often invited Wu Guanzhong, Zhang Ding and other foreign school artists came to Peking University for teacher-student art exchange activities. They also led delegations to Japan and Southeast Asia to hold art exhibitions for high-end art exchanges, thereby expanding the horizons of artistic creation and forming a network that connects China and the West and integrates ancient and modern times. The foundation of art theory research. What is particularly valuable is that Mr. Liu Xiaogang, based on solid academic qualities, focuses on the dual perspectives of changes in the times and the development of art history, and is committed to exploring new paths for the innovative development of contemporary Chinese art, combining the brush and ink realm of traditional Chinese painting with the modeling of Western painting. The abilities are interconnected, organically integrating traditional creative concepts with modern artistic aesthetics, and blending the spiritual experience of individual life with profound religious art and humanistic heritage. This new road has increasingly attracted international attention. During his visit to China in 2009, Malaysian Prime Minister Najib made a special trip to meet with Mr. Liu Xiaogang and fully affirmed and spoke highly of his artistic exploration and efforts in international cultural and artistic exchanges. When he held a personal exhibition in Taiwan, people from all walks of life such as Wang Jinping, the former "Legislative Dean" of Taiwan, and Huang Xiu-shuang, President of Tainan University, came to watch the exhibition, which was highly praised and caused a strong response.
Technical innovation is the foundation of artistic creation and the fundamental support for exploring new development paths for contemporary art. Without the innovation of techniques, no matter how good the academic propositions and artistic views are, they cannot become reality. Liu Xiaogang's exploration mainly focuses on the two fields of heavy color and ink painting. His heavy-colored lotus paintings are rich in composition, full of interest, and full of strong artistic tension and noble connotations. As Mr. Du Xixian pointed out: "After long-term exploration, Liu Xiaogang has found his own set of expression techniques. Through the combination of ink and color, collision, infiltration and overlap, he achieves the touching, rhythmic and harmonious music-like music of the intersection of ink and color. Rhythm. Gives viewers the pleasure of comfortable, rich and harmonious beauty. "His ink and wash creations not only absorb the essence of traditional brushwork, but also get rid of the inherent formatting composition. They are free and flexible, with vivid charm and neither excitement nor harshness. It has a strong imprint of the times and a literati atmosphere.
The development of art in today’s era is at an important crossroads. It’s no good to lose the essence of traditional art and turn a blind eye to the flavor of the times; it’s no good to ignore the integration of international art and stay stuck in traditional art. When Mao Zedong talked about how to study the history of the Party, he proposed the methodology of "ancient and modern Chinese and foreign laws", which is also applicable to today's artistic theoretical research and creative practice. Mr. Liu Xiaogang is a religious and persistent art pilgrim. He believes that his painting practice and artistic exploration can make greater contributions to the development of contemporary art. (Wang Haolei, Guo Zhiquan, Li Zhimin Calligraphy Art Research Association of Peking University)
Liu Xiaogang's resume: In his early years, he was engaged in the research of oriental aesthetics in the Department of Oriental Languages ??and Literatures of Peking University. He is currently the Secretary-General of the Calligraphy and Painting Association of Peking University and a director of the Beijing Haidian University. Vice Chairman of the District Artists Association and a national first-class artist. He studied under Mr. Tian Jialin, Li Kuchan, Li Zhimin, Yu Xining and Lou Shibai. He is a leader in contemporary Chinese heavy-color flower and bird painting and ink painting.