Light and Color in Guo Jianming's Chinese Paintings

Throughout the ages, China's famous painters' "painting strategy" was always a procedural routine, although it was mostly good words at that time. Taking "Landscape Raiders" as an example, Wang Wei said in the Tang Dynasty: "Pave water first, avoid floating mountains, pave roads later, and don't make a continuous road. The main peak should be towering, and the guest mountain should be rushing. " From the perspective of modern people, there is only one word rule in art, that is, "change", which is absolute, and unchangeable is relative. The unchangeable artistic philosophy is the result of self-isolation between agricultural society and feudal society. Art is the product of the times, and different times have different contents and forms. It seems that the stylization of Chinese painting is inevitable and should be avoided. The vision of contemporary China painters must take history as the criterion to look at the world, not just the repetition from "tradition" to "tradition". In recent years, Zhou Shaohua, a painter who knows his destiny, jumped out of the traditional concept of Chinese painting for a hundred years, and put forward the viewpoint of "atavism" that directly inherited the brilliance of Han and Tang Dynasties and "lateral transplantation" that accommodated the world culture. In addition, a large number of China painters who have their own ideas and techniques are very active. They are ambitious to build New Oriental art, and painting is not just a new Chinese painting of New literati paintings. It should be said that they are looking for change.

When it comes to "map change", I have to mention the "China Western Painting School" that has gradually formed in recent years. Not long ago, when some China painters living in the United States discussed China's modern paintings in the United States, they thought that the split between the East and the West in China's painting circle in the second half of the 20th century had overwhelmed the confrontation between the North and South sects in history and became a unique cultural landscape in the new era. Exposing and affirming this situation is conducive to the modern development and exploration of Chinese painting.

It is said that about 1 100 million years ago, the Himalayas miraculously rose from the ancient Tethys Sea and stayed at an altitude of 8,000 meters, overlooking the stunning world. It can be asserted that there was no way for China painters before the Qing Dynasty to climb the "roof of the world". Because the famous people of all ages have never seen or seen this kind of "natural reference" and lack of treatment, they are all brewing and expressing "western China" in the west of China, so they can't artistically reproduce the tragic, majestic, extraordinary and magnificent plateau character decided by a loud noise 100 million years ago. In the history of China painting, there is no historical tradition of "China Western Painting School". Previously, the "China Northwest School of Painting", which was largely restricted by geography and economy, should become the mainstream school of Chinese painting, and strong things will be attractive there. Of course, this can only be a strong force in the "transformation army" of Chinese painting. ...

When it comes to light, we can't help talking about lucky chance, a plastic art closely related to painting, which is a two-dimensional space and pursues visual effects-photography. In terms of "time", photography with a history of only 150 years is undoubtedly the little brother of the big brother of art. However, due to the mutual penetration of the two in expression techniques and aesthetic principles, the early photographic imitation effect was developed, while the modern painting made a breakthrough in imitating the photographic effect. With the emergence of computers, even electronic painting-style "new painting" photography works have appeared, which use photo synthesis processing. The works of photo photography have been enriched and developed with the changes of the times and social transformation, and have become an important part of photography. Moreover, schools of painting, such as Dadaism, Structuralism and Cubism, often have a great influence on photography. But what about painting? Although it was mentioned earlier that modern painting has made a breakthrough in imitating photography. But that kind of breakthrough is biased towards western painting. Western painting (even western painters in China) does not exclude masters who use the "backlight" and "top light" of photography to create new ink painting methods. It seems that most artists in China simply use photography instead of sketch, and use "photography" to collect materials. The author thinks. In addition to the differences between eastern and western ways, there is also a little bit of China's unique thought of "traditional" agricultural society and feudal society's self-isolation.

The colorful world of light and color not only directly affects people's psychological activities, but also fascinates people and brings endless fun. It also brought a revolution to traditional Chinese painting. In the past hundred years, due to the spread of the west wind to the east, under the pressure of ancient culture, Chinese painting has not come to a dead end, but in the historical process of the collision, integration and reconstruction of eastern and western cultures, a number of giants such as Xu Beihong and Lin Fengmian have appeared. Therefore, if we regard light and color as the breakthrough of Chinese painting revolution, we should explore them from the aesthetic point of view, especially from the psychological effect of light and color and the emotional implication caused by spectrum and color, so as to make the artistic conception of the works more obvious, more vivid and more real, and make the viewers immersive and produce emotional voices. This undoubtedly injected strong fresh blood into Chinese painting, made its China ink painting more perfect, and played a great role in promoting the further development of Chinese painting.

Let Chinese painting enter the world of light and color. I think this may be the historical responsibility that this generation of China painters (at least some revolutionary painters who are interested in it) must shoulder.

From self-seeking to forgetting things —— Interpretation of young painter Guo Jianming

Text/Guo Xinghua (Ph.D. student in Fine Arts, Academy of Fine Arts, Capital Normal University)

I met Jianming more than ten years ago. At that time, we were all studying at the PLA Art College. At that time, the learning conditions in all aspects were very poor. The studio is arranged in a row of small and short houses. It is cold in winter and hot in summer. It is under such conditions that we spent nearly two years studying. Although the conditions are very difficult, we are full of enthusiasm, study hard, read books and draw pictures day and night, and often have some casual discussions together. Sometimes students even argue with each other and never give in. Perhaps it is this kind of condition and environment that makes us cherish this rare learning opportunity more, and also urges us to learn a lot, benefit a lot, and have a deep memory of that learning life and experience.

Jianming belongs to the kind of painter who works hard and is diligent in thinking. Although he is an out-and-out southerner, he has the warm and generous character of a northerner. A fair face is always full of confidence, and peaceful eyes are full of wisdom. He is really a prolific painter. A few days away, he can produce a large number of paintings to scare you. You almost suspect that he has been insomnia for several days. Sometimes I frown for days to think about a problem, and I don't want to eat tea or rice. It is this character that makes Jianming's present painting style and achievements. For more than ten years, many exhibitions have seen his works, and many publications have reported his painting achievements. He is also trying to find his own painting language and his own unique expression in constant exploration. With the continuous output of new works, his painting style is becoming more and more mature. However, Jianming is still not satisfied with himself. Over the years, he has been wandering between tradition and modernity. While practicing traditional skills in a down-to-earth manner, he knows the importance of studying in colleges and universities, so through hard work, he successfully entered the graduate class of Chinese Painting Research Institute. I met him more than ten years ago when I was studying in the Academy of Chinese Painting. He is still so diligent, so diligent, so diligent in thinking. ...

Let's get to know him through his works. Over the years, Jianming has traveled all over the country, and every trip will always bring back heavy gains. Among them, I was most impressed by his series of "Da Liangshan Yi Works" and "Xinjiang People Works". Shi Tao put forward in "Painting Quotations": "Make a manuscript by looking for a strange peak"; When discussing the "six methods of painters", Dong Qichang said: "Naturally, removing the dust and turbidity in the chest, camping in the hills and valleys, and writing with essays are all vivid landscapes." Here, "the camp in the ravine" is an image activity, and it is a profound feeling after people "read thousands of books and take Wan Li Road". It can be seen from these works that Jianming's paintings are getting better and better. I believe he has found what he is looking for. There is a silent power in his bleak works. It's hard for a painter to find himself, and it's even harder to find himself, that is, forgetting things and forgetting myself. This is not only an effort, but also requires a high degree of understanding and a solid artistic foundation. I smell this hard and sweet smell from Jianming's paintings. After several further studies in the college, Jianming has laid a solid sketch foundation. Through repeated thinking and tempering, Jianming has gained the essence of Chinese painting. He took the road of Wan Li and broke through thousands of books, and explored his own painting language and pen-and-ink schema from real life and painting practice.

Jianming's works attach great importance to the cultivation of pen and ink. Under his pen and ink schema, I saw another brand-new aesthetic world, tradition and modernity. He built a vast exploration space between the western sketch language and the traditional brush and ink cultivation, and successfully integrated the western painting elements into the pure China philosophy. Since ancient times, painting masters have attached great importance to the cultivation of pen and ink. Qing Gongxian thought: "Ink seeks ink, pen and ink get each other, and painting can be achieved." Huang said: "I don't know the brushwork and ink method, but I try to be fresh and similar between the rules." Although I am extremely capable, my charm is hard to be nourished. " "However, if there is an outline without writing, it means there is no pen, and if there is writing, it means there is no ink." (Quoted from Huang's painting). Huang is a recognized master of landscape painting, and his outstanding achievement lies in his "pen and ink" creation practice. Therefore, Jianming has always attached great importance to the improvement and cultivation of his pen and ink cultivation. Looking at his paintings, there is always an illusion and a hearty feeling. Liang Jinghao of the Five Dynasties said in the Book: "Fu painting has six essentials: first, qi, second, rhyme, third, thought, fourth, scenery, fifth, pen and sixth, ink. When you are angry, your heart will follow the pen and you will not be confused; Rhyme, hidden and positive, good preparation and instrument; Thinker, delete the main points and concentrate on things; Landscape, systematic time, exploring wonders and creating truth; Although the author is in accordance with the law, he is flexible in operation, uncertain and intangible, as if flying; Ink, high and light, shallow and deep, natural in writing, seems to be not due to the pen. " Zhang Yanyuan said in the Tang Dynasty: "The shape of bone and the shape of god are all out of intention, but out of pen." "The so-called' one stroke' means painting quickly and in one go." Famous paintings of past dynasties. Jianming's natural and unrestrained brushwork and hearty brushwork are the result of his deep understanding of traditional brushwork.

Another important factor in Jianming's painting is his personality and emotional state. He appealed to all his feelings about life and painting. He loves real life experience. He went to Yunnan to sketch, and stayed for several months. He went to Xinjiang alone to sketch for several months. When he came back, he produced a lot of works, some even masterpieces. I believe that perseverance without strong passion for life experience can't do this. In fact, life attitude is a person's personality, or the realization of personality. And aesthetic attitude is also an emotional state. For traveling to the countryside and making darkrooms at home, Jianming devoted almost all his emotions. When he entered his own work world, Jianming forgot everything and wandered in his own art world. It is Jianming's tireless in-depth experience of real life, coupled with the sublimation of "sincere taste" and "sincere view of Taoism", that gradually completed Jianming's personality ideal and painting pursuit today.

Jianming is forgetful in the exploration of the art world. He still walks with firm steps in the north and south of the great river, in the thinking and exploration of tradition and modernity, and at the crossroads of the integration of Chinese and western cultures. He is free and happy. From self-seeking to self-forgetting, I gradually realize my personality ideal and painting pursuit in the happiness of self-forgetting. I believe he will find greater freedom and more happiness in his own world. ...