Text/Wei Xuefeng
Professor Wu, vice chairman of Sichuan Artists Association, is an outstanding contemporary figure painter. After graduating from sichuan fine arts institute in 1960s, he entered Emei Film Studio and began his career as a professional film artist for more than 20 years. In the meantime, he undertook the artistic design of films such as Inside and Outside the Court, Corner Forgotten by Love and Face/Pass, and won the highest award (Huabiao Award) in this field. This experience enabled Xu Jing to master big scenes and know how to use montage to strengthen visual images. At the same time, Xu Jing also devoted himself to comic creation, and Autumn in Han Palace won the National Excellent Book Award. When understanding the relationship between my work and amateur painting creation, Sadako Ogata said that "movies are cartoons made with cameras". This comic state of mind continued until his large-scale Chinese painting group "Ode to the Elegant Style in Chengdu". Because of his extensive artistic practice, when he stepped into the field of Chinese painting, it was a blockbuster: 1990 "Competitive Map" won the "Special Prize" in the 11th Asian Games Art Exhibition, 1993 "Mourning of Opium in Humen" won the third prize in the first Chinese painting exhibition, and 19654 "Youth". In the face of success, Ogata called himself a "stupid bird", and I think he is the smartest person, because this "stupid bird" found the best habitat, which is the big tree of China culture.
Thirdly, let's analyze the gradual change process of Jingjing. His famous work "Competitive Map" is a highly decorative modern meticulous painting based on comics. The Mourning of Opium in Humen shows that tragic history in black and white, which has the effect of printmaking, but it is still a continuation of the expression of "competitive map". "Youth 19 19.5" began to reveal new explorations. Most of the characters in the painting are ink and wash, and the rounded lines gradually dilute the decorative elements. From the depth of characterization and the typical meaning of image, it shows the author's new artistic pursuit and aesthetic orientation. 1995' s Sex Slaves and Comfort Women basically got rid of the "Wu Jiafeng" used in the past. The texture of the block is watercolor painting, which is bold and clean. The Soul of China was written on 1999, which further demonstrated the exploration of Mohism. If youth 19 19.5 is a relatively simple change of color and ink, this work is also infused with colorful colors, indicating that the painter's Yongle Palace murals and other traditions have absorbed nutrition. The smooth and straight lines and gorgeous colors of Yongle Palace murals are found in Ogata's paintings. After 2000, Xu Jing completely entered the realm of freehand brushwork, and the connotation of his artistic image also showed an infinite trend. As a middle-aged painter, he dares to abandon mature techniques, which is not only a change in expression techniques, but also a transcendence of the century. The establishment of new artistic language makes his works have new philosophical thickness and aesthetic value, which also establishes his academic position in contemporary figure painting.
The new realm of Yijing figure painting first incorporates the lines of cursive script. China's artistic spirit of calligraphy is the most philosophical, so he is the most liberated and free. It is a beauty of soul, a beauty of philosophy, a beauty of life and a beauty of calligraphy, which can be said to be the purest and most connotative art. When Xu Jing studied Italian figure painting, he let the lines dance. The cursive lines he used to sketch characters showed rich and complex changes, in which the flowing lines combined with smoke conveyed the rhythm of life and the painter's infinite and profound spirit. The second new realm of Xu Jing's figure painting is also the biggest breakthrough of his art, which is to classify nature and Vientiane on the level of pen and ink. The development of art history proves that "ink" in the sense of materials science to "ink" in the highest category of oriental art is the core foundation of the ink painting system of literati painting. Great painters of past dynasties made good use of movable type ink, seeking hierarchy in ink and seeing brushwork in ink. Ni Yunlin once said: "Use ink casually, it will be naive at first." . The ink color of Xu Jing is bright and ancient, with a large area of ink mass, like broken monuments or jade. It abandons all forms of hue and integrates all the characteristics of hue, making people realize that China's history and culture have permeated with rich flavor. On the relationship between line and color, Xu Jing used ink painting instead of color painting, and used the abstraction of straight brushwork to break the concreteness of block structure. The infinite sense of history and life meditation is exactly where the painter lingers.
Most of Xu Jing's paintings are historical themes, which contain mellow and eternal poetry. The painter said to himself, "I have a tragic sense of mission to our nation." Therefore, Xu Jing's paintings are a new interpretation of history and show new vitality in the decoding of culture. Art not only reflects the painter's personality cultivation and personality influence. More unique social value. Liu Xizai, a Qing Dynasty man, once said: "Pen and ink are based on human temperament." Xu Jing's paintings are like people. His paintings are not deliberately detached from the emptiness of the world, but full of the brilliance of human nature, maintaining the poetry of the world, the meaning of life and the artistic vision. Nourish harmony with grace, so that it does not stay in hands or hearts. He can complete more than 100 paintings in Chengdu in more than a year, depicting the result of the opposition between the artist's subject and history. The acquisition of great beauty depends on the meditation of the painter's mind, and the artistic environment is the humanistic environment. The deep affection and elegance that we reveal from the paintings of Mituo Sutra no longer see the formal shaping under the visual paradigm, but the reconstructed spiritual world.
May mio Jing take his persistence, simplicity, loneliness and nobility to a deeper and broader artistic realm.