Author: Mo Long 2011-03-0914: 36: 53 Art Mirror has been viewed 300 times.
Investing in the works of the four major ink innovators will have more room for appreciation.
China ink painting, as a traditional ink painting culture, has reached its peak after Huang and Li Keran. In this context, the innovative ink painting with the integration of the East and the West has stepped onto the historical stage, and new factors have become the last cultural motive force to save the vitality of China ink painting.
Wu Guanzhong continued to develop on the basis of Lin Fengmian in modern times. Commenting on Wu Guanzhong's article, critic Jia regarded Lin Fengmian's continuation of Wu Guanzhong's context as an important factor, which also confirmed that Wu Guanzhong developed along the forest system to the historical future. Masters are not necessarily perfect, and they often make powerful breakthroughs and constructions in a certain aspect. Wu Guanzhong's weakness lies in his grasp of traditional pen and ink. The strength lies in injecting the formal beauty principle of western external forms into the traditional style of China's ink painting. Wu Guanzhong absorbed Impressionism, American table painting and German expressionism, and combined these things with China's brush and rice paper. The difference between Wu Guanzhong and Li Keran is that Li Keran borrowed the past to serve the present, while Wu Guanzhong borrowed foreign materials to serve China. What we borrowed from them was different, but they all achieved the same goal, which finally promoted the innovation, reform and development of China ink painting.
Some trees in Wu Guanzhong's works absorbed Pollock's subconscious movements and brush strokes. He found a combination between writing and dripping, and found a balance between writing like dripping, writing freely and flowing freely, which was revolutionary and original in promoting the development of Chinese painting. Wu Guanzhong's ink revolution is based on overthrowing criticism and dispelling traditional brushwork.
His extreme viewpoint "pen and ink are equal to zero" has sparked a long-lasting discussion in China painting circle. Today's development history proves that pen and ink will not be equal to zero, but destroying tradition and innovation has become Wu Guanzhong's unprecedented contribution to the development of Chinese painting.
It is a remarkable feature of Wu Guanzhong's model that it does not break and does not stand, first breaks and then stands, while breaking and standing.
When Huang Yongyu and Li Keran developed together, he boldly painted with brush strokes and loofah cores. His bold experimental creation attracted the attention of China painting circle at that time. Huang Yongyu can't compete with Li Keran for pen and ink and images, but his cleverness lies in his courage to establish different art competition styles. When you talk about tail leakage marks, I am a strong and powerful brushwork. When you emphasize ink, I am a great contrast between ink blocks and color blocks. In the era of Li Keran, Huang Yongyu, like Li Keran and Shilu, had artistic highlights. He challenged the tradition with mixed and unorthodox artistic language. His pen and ink skills are above Wu Guanzhong and below Li Keran. The momentum is better than that of Wu Guanzhong and Li Keran, and the form richness is weak. But he has established his own artistic territory, a very domineering, unreasonable, destructive and powerful yellow model. In the history of the development of China ink painting, all the great men have exemplary values. Undoubtedly, Huang Yongyu did it.
Huang Yongyu's ink lumps have the inherent aesthetic characteristics of fluency, just as he likes the inherent beauty of fluency of Zhang Hei's female book, his lotus ink and lotus leaf paintings. Have an innate unrestrained and smooth aesthetic pleasure. Every painting is an outlet for him. Mr. Huang's longevity is obviously related to his catharsis in ink painting. The unhappiness and pain in his life are vented into the picture. He painted freehand with emotion and wrote about the environment with emotion. This tradition from the Ivy League and Kai Liang has always been inherited from him.
Chen Laotie, as the leader of innovative ink painting in China, has been more and more respected by academic circles. He took the tension expressionist ink painting culture as a breakthrough and established a perfect old ink painting model. I mentioned in the evaluation paragraph that the important artistic criticism standard for master figures in the history of China ink painting development is the artist's self-modeling, whether it's Huang's colorful modeling or Shi Lu's colorful Chang 'an painting style, whether it's Li Keran's Li-style brushwork and print Haig, or Wu Guanzhong's free lyric style, all masters must have their own original and exclusive forms and styles. What we see in Chen Laotie's ink painting is a completely different self-modern ink painting mode from predecessors such as Li Keran, Wu Guanzhong, Qi Baishi, Shi Lu and Xu Beihong. What Chen Laotie gave us was a bolder, more international and post-modern ink painting reform model. Both Wang He, curator of the Art Museum of the Central Academy of Fine Arts, and researcher of the Institute of Fine Arts of China Academy of Fine Arts think that the ink paintings are extremely original and destructive.
Relying on traditional writing resources, absorbing American abstract expressionist masters Pollock, Ning and German expressionist culture. He developed the traditions of Wu Changshuo and Li Keran with genius. He added more critical cultural concepts and popular cultural symbols of consumerism to abstract ink painting. He criticized and destroyed our great Confucian traditional ink painting aesthetics and culture with different reds such as pink, scarlet and scarlet. In the history of China ink painting, Chen Laotie is undoubtedly a new master figure. In his work "Red Tears", he sharpened the pen and painted, which increased the rigidity of the pen. He added the material of ink and wash rice paper, and we can feel a kind of unrestrained and cathartic extremism in his works. He is a venting artist like Wu Guanzhong, Huang Yongyu and Xu Qingteng. He vented all his unhappiness in life on rice paper or leather paper. He found a personalized and exclusive color, namely scarlet, and he found an arranged brushwork. His works can't be copied, and it's hard to repeat. He provided an important and scarce innovation model for the modernity of China's ink painting, and Chen Laotie created a cultural model of modern expressionist ink painting innovation.
The difference between Shi Qi and Huang Yongyu is that Shi Qi looks for opposition and confrontation between abstraction and concreteness, while Huang Yongyu always looks for opposition and confrontation in the image without intervening in abstract emotions.
Shi Qi absorbed the freedom of Huangzhou, and a kind of free and unrestrained freehand brushwork appeared in his Xuan paper screen, which is undoubtedly vigorous and powerful. Li Keran praised Shi Qi's painting methods before his death, and Shi Qi did use many languages and words to express the feeling and understanding of ink painting. His brushstrokes and colors are international and tense, and he absorbed the atmosphere and strength of Kong Dening. We can see the complicated formal language communication of symphonies in his ink painting style, and we can read the grandeur of Weibei and the vigor of Shimen inscription in his calligraphy. The reform and development of Shi Qi's transition from figure painting to modern ink painting. Undoubtedly, he did not stay in the initial stage of expressing the theme of political socialization with pen and ink, but boldly moved towards modern art. Undoubtedly, he got rid of the shackles of the theme of political socialization and boldly developed into the modern art sector. At the same time, he absorbed the visual form of the current consumer culture and put color, line, pen and ink, seal cutting and rubbings in the current modern culture. In Shi Tao's words, it is "pen and ink should follow the times." If a modern ink painter does not combine the current culture with tradition, it is impossible to create works belonging to our time. Zhang Daqian's abstract landscape paintings are undoubtedly influenced by Picasso's postmodern art. Western modern art has influenced China painters with innovative spirit, and Wu Guanzhong, Huang Yongyu, Chen Laotie and Shi Qi are undoubtedly the creators and forerunners of a new chapter in the history of ink painting in this era of great change. Without their original new ink painting, China painting world would be bleak. There is no doubt that Zhang Daqian, Li Keran and Qi Baishi, who sell at sky-high prices in the China calligraphy and painting market, are all masters who vigorously promote ink and wash innovation academically. The highest value of the art market is triggered by academic value. Undoubtedly, investing in the works of Wu Guanzhong, Huang Yongyu, Chen Laotie and Shi Qi will have a higher return on investment, because they belong to history.