Liu Xilin (1942-), male, a famous art historian and painter; 1942, a native of Linyi, Shandong Province, was enlightened by the painter Zhang Maocai in his early years. He studied in Shandong Art College (the predecessor of Shandong Art College) in his early years and was deeply taught by Mr. Guan Yousheng and Mr. Heibolong. Later, he served as Art editor in Xinjiang Kashgar Daily; 1978 was admitted to the Department of Art History of the Central Academy of Fine Arts for a master's degree; Since 198 1, he has been engaged in art theory research and painting and calligraphy creation in China Art Museum. Currently, he is a researcher of China Art Museum, deputy director of the Theoretical Committee of China Artists Association, editorial board member of Fine Arts magazine, invited researcher of Central Academy of Fine Arts and invited professor of Shandong Academy of Fine Arts. He is the author of Yi Hai Chun Qiu-Biography of Jiang, On Poetry and Painting, Chinese Painting and Modern China, Biography of Guo Weiqu, etc.
Chinese name: Liu Xilin.
Nationality: People's Republic of China (PRC).
Ethnic group: Han nationality
Place of birth: Linyi City, Shandong Province
Date of birth:1July 942
Occupation: art historian, painter and calligrapher
Graduating institutions: Shandong Art Institute and Central Academy of Fine Arts.
Representative works: Yi Hai Chun Qiu-Biography of Jiang, Biography of Guo Weiqu, Chinese Painting and Modern China, etc.
Position: Researcher of China Art Museum, Deputy Director of Theoretical Committee of China Artists Association.
outline
Liu Xilin (June 65438+July 0942) was born in Linyi, Shandong. 1963 graduated from Shandong Art Institute. After that, he went to Xinjiang as Art editor of Kashgar Daily. From 65438 to 0978, he was admitted to the master class of art history department of Central Academy of Fine Arts, and studied art theory and modern art history of China under the guidance of Mr. Wang Qi and Mr. Jin Weinuo, head of the department.
Since 198 1, he has been engaged in the research of China modern art history and art museum and art criticism in China Art Museum. He has served as deputy head and deputy director of the research group of the research and storage department. Director of Research Department of China Art Museum, member of Collection Committee and member of Art Committee.
At present, he is a research librarian, director of research department, member of art committee and its collection evaluation committee, and member of exhibition qualification evaluation group of China Art Museum. Director of China Artists Association, Deputy Director of Theory Committee, Deputy Director of Theory Committee of Beijing Artists Association; Member of China Calligraphers Association.
Get special government allowance for "outstanding contribution"; He was hired as distinguished professor by his alma mater, Shandong Art Institute, and as a distinguished researcher by the Central Academy of Fine Arts.
In addition to climbing the grid, he also created China's paintings and calligraphy; 1996 held a personal painting and calligraphy exhibition; From June 5, 2004 to 10, a three-person art exhibition was held jointly with painters Li Baolin and Jiang Baolin.
He has published monographs such as The Spring and Autumn Period of Yihai-Biography of Jiang, Traces of Famous Painters in China in the 20th Century (co-authored with Shui Tianzhong), Chinese Painting and Modern China, Biography of Guo Weiqu, Complete Works of Famous Painters in China and On Jiang.
Editor-in-Chief: China Fine Arts Yearbook 1949- 1989, Complete Works of Modern Fine Arts in China, Chinese Painting and Flowers and Birds, Selected Collection of China Fine Arts in the 20th Century-China Art Museum, On Poetry and Painting, Collection of Commemorative Works, Collection of Commemorative Works, and Jiang on Art and Art.
artistic style
Mr. Lin, a native, is good at cursive writing and has written many articles of his own, which are picturesque and contained in the calligraphy structure. Painting is famous for flowers, bamboos, stones, bluegrass and daffodils. It pays attention to the expression of artistic conception and inner beauty, and sometimes uses prose to express the meaning beyond painting, which is called contemporary literati painting.
Because I am engaged in the research of artistic theory and historical theory, I have a deep understanding of the laws of art, profound cultivation and extensive knowledge. I can gather the strengths of many families, sublimate and show elegant artistic style and ideological connotation.
Personality assessment
Liu Xilin, who is famous for his literature, is very famous in the field of art history. His flower sketches are even more full of praise, and he can be called an amphibious genius who "dances and writes ink".
There may be many kinds of accidents in a person's life, but when you look back on your life, you will find that in all kinds of accidents, it often reflects the inevitability of a person's logical choice of personality.
From 65438 to 0978, Liu Xilin passed the first graduate program of the Central Academy of Fine Arts after the Cultural Revolution with a solid foundation. It turned out that he applied to both the Department of Traditional Chinese Painting and the Department of Historical Theory. At that time, the Department of Traditional Chinese Painting recruited the direction of figure painting, but he liked flower-and-bird painting. The enrollment standard does not allow him to apply for two majors, so he chose the Department of Historical Theory, and his research direction is art theory and the history of modern art in China. At that time, the Central Academy of Fine Arts had just recovered, and his tutor became Professor Wang Qi, Party Secretary of China Artists Association.
I mistakenly thought that although the Department of Traditional Chinese Painting didn't study the direction of figure painting, his thesis studied Mr. Jiang, a master of figure painting in China. Liu Xilin launched a series of in-depth research in this direction. He first combed the theories about realistic art at home and abroad, then wrote "Sketch of Portrait Art", and then went deep into Jiang's artistic world.
The Refugee Map was born in Beiping in War of Resistance against Japanese Aggression's time, but Jiang's personal history and the characterization of this painting caused great controversy. At the same time, this painting had a great influence in modern China and even the world, so Jiang was known as "Sulikov of the East" and "Rembrandt of the East". After careful textual research, research and analysis, Liu Xilin put forward three evaluation principles for this major art history phenomenon: first, look at the content of the work itself; Second, it depends on the social effect of the work; Third, it depends on the artist's consistent artistic tendency. After Liu Xilin's research, this masterpiece, which was criticized as an anti-traitor during the Cultural Revolution, has now become a treasure of the China Art Museum.
In Liu Xilin, we can always find many artistic regression phenomena full of dialectical sublation. Today, he has become a minor celebrity in the art world as the director of the research department of China Art Museum. Under the title of Liu Xilin, people are familiar with the classic art history. Historical works include Traces of Famous Painters in China in the Twentieth Century (Cooperation), Chinese Painting and Modern China, and On Poetry and Painting. Case studies include Yi Hai Chun Qiu-Biography of Jiang, Biography of Guo Weiqu, Qi Baishi, etc. Editor-in-chief's historical reference books include China Fine Arts Yearbook 1949- 1989, the Complete Works of Modern Fine Arts in China, and the 20th Century China Fine Arts-Selected Collection of China Art Museum.
For artistic creation, Liu Xilin boasted in a poem: "Thick and light, urgent and slow. After the idle ink climbs the grid, clap your hands and call the old ivy. " This poem can make people think about the life realm of China ancient and modern literati and scholars. They always associate art with spiritual life, with special emphasis on the overall cultivation of artists.
This poem can also explain the significance of the "amphibious" practice of literati painters to artistic creation, which is not an inspiration to improve the artistic taste of contemporary painting circles.
Related books
Essays on China's Modern Art Theory Criticism
Author: Liu Xilin Publishing House: People's Fine Arts Publishing House
Release date: 2008- 1 1- 1
Version: 1
Page count: 38 1
Printing time: 2008- 1 1- 1
Format: large 32 format
Paper: offset paper
Impression: 1
ISBN:9787 102044095
Packing: paperback
brief Introduction of the content
This book is a volume of Liu Xilin's Literary Criticism of China's Modern Art Theory, which contains articles such as The Flow and Imagination of Hundred Years' Landscape Painting, Four Traditional Masters and Four New Masters, Reflections on Nationality and Modernity, and China Oil Painting. This book is suitable for people engaged in related research.
Brief introduction of the author
Liu Xilin, born in 1942, Linyi, Shandong. Graduated from Shandong Institute of Arts and the Master's Program of Art History Department of Central Academy of Fine Arts. He has served as deputy director, director and research librarian of the research department of China Art Museum; Director of China Artists Association, deputy director of Theory Committee and Editorial Committee of Fine Arts; Senior art consultant of Yachang Color Printing Co., Ltd., whose research direction is art theory and modern art history of China.
He is the author of the Spring and Autumn Art Sea-Biography of Jiang, Biography of Guo Weiqu, Chinese Painting and Modern China, etc. Editor-in-chief: China Art Yearbook 1949- 1989) China Art in the Twentieth Century-Selected Collection of China Art Museum, etc. Besides climbing the grid, he also devoted himself to China's painting and calligraphy creation.
catalogue
General order
foreword
The first chapter of this century
Tradition and Modernity of Chinese Painting
Chinese Painting and Modern China (Outline)
Looking for elements to transform into modern forms
National art century monument
Thoughts at the turn of the century
Rethinking on Flower-and-Bird Painting in the 20th Century
The direction and reverie of century-old landscape painting
On Shanghai School and Beijing School
Chapter II Behind the Case
Qi Baishi's theory
Shi Lu's mental journey and its artistic charm
Analysis of refugee map
Some chapters
The first chapter of this century
Tradition and Modernity of Chinese Painting —— Report of "93 China Art Seminar"
First, the character of Chinese painting
Chinese painting is one of the paintings named after the country. This not only means the difference between it and foreign art, especially western art, but also means the aesthetic character belonging to the Chinese nation. In the sense of national culture, it has a long history as the Yellow River and the Yangtze River. After thousands of years of scouring, it has formed its own aesthetic thought and modeling style, and has become an unavoidable object in the artistic exchanges between the East and the West, including Chinese painting and Japanese painting, and has become the main pillar to compete with Western art.
1. Chinese painting and China's aesthetic system
The origin, growth and transformation of Chinese painting in China are the products of China's great cultural background. As a cultural phenomenon in ancient China, Chinese painting was deeply influenced by politics, economy, religion, philosophy and literature at that time, especially philosophy played a key role in the formation of its aesthetic character.
For example, China called heaven, earth and man "three talents" in ancient times, and thus formed the idea of the unity of heaven and man. This resonance between man and nature is the consciousness of spiritual communication between man and nature and the harmonious relationship between man and nature, which establishes the aesthetic consciousness of the unity of subject and object in Chinese painting and becomes the soul of Chinese painting, especially landscape painting. China's philosophy regards this realm of harmony and transcendence with nature as the realm of freedom and aesthetics, and as the highest realm of life, which determines the close relationship between China's art and life, instead of being in the realm of religion for a long time like western art.
works appreciation