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Since the 20th century, artists of different disciplines have paved a path for the development of Chinese-style modern art through multi-faceted and multi-dimensional creative practices. The 20th National Congress of the Communist Party of China drew a grand blueprint for comprehensively promoting the great rejuvenation of the Chinese nation with Chinese-style modernization, and also put forward new topics for contemporary art creation. With the advancement of the process of Chinese-style modern art, what issues should the current art creation revolve around? How to concretely grasp the cultural implications of these propositions in combination with creative practice? How can art creation achieve a deep understanding and grasp of Chinese rhyme and the spirit of the times? Focusing on these issues, a series of special videos are hereby launched, aiming to sort out and summarize the ways to solve problems by presenting the views and works of artists with rich practical experience and achieving certain results. In this issue, Tian Liming, director of the Chinese Painting Art Committee of the China Artists Association and professor of the Chinese Painting Institute of the Chinese Academy of Arts, is invited to elaborate and respond to the theme of "independent thinking and heavy history in artistic creation".
—Editor's note
Artistic creation should be independent thinking and rich in history
The creation of Chinese painting is still facing academic issues. For example, there is the phenomenon of overlapping and copying in the expression method, and the art works lack the painter's independent thinking and grasp of the connotation and spirit of Chinese painting, especially the lack of formal language triggered by personal emotions. Artistic creation should not only pursue the picture effect, but also pay attention to the internal force of emotion and form, emotion and brushwork, and strive to perfectly integrate emotion with the entire painting realm.
Tian Liming "Youth"
Tian Liming's "Observation Map"
Tian Liming "Distant Mountains"
Tian Liming "Old River"
All the images presented in Chinese painting are the product of the union of man and nature. For example, Dong Qichang said: "The universe cares about the hand, and there is nothing but life in front of you." "Themes that can be found everywhere in life can form a theme, but the cultural perception of the theme is extremely important. It is only meaningful to inject the holistic concept of self-improvement and virtue emphasized by Chinese culture into painting. When an artist creates a painting, a piece of ink, a piece of color, or a form, he must think about its meaning, and whether it conforms to the overall direction of the theme.
Li Jieping "Little Couple"
Li Fax "Shed"
Sun Zhensheng "Reply"
Tian Liming "Heroes of the Times"
Tian Liming "Outside the Window"
We emphasize styling. The "Motorcycle Doctor" painted by Mr. Lu Shen in the 60s is very instructive. In the painting, the three generations of the old, the middle and the young form the theme of "the wheel of the times", where people and steel are fused together, and the shape of the characters is like steel.
Lu Shen "Motorcycle Doctor"
Mr. Zhan Jianjun's oil painting "Five Heroes of Langya Mountain" integrates people and mountains, which is the embodiment of the concept of Chinese painting. In the 60s of the 20th century, many classic works adopted such an imagery expression.
Zhan Jianjun "Five Heroes of Langya Mountain"
I used Fan Kuan's painting method to create "Forest of Steles", not completely using lines, but using the method of points to shape people and embody the monument-like feeling.
Tian Liming "Forest of Steles"
The accumulation of language originates from emotion, and once you find the emotion that triggers the aesthetic perception, the sense of beauty will be related to the language you have accumulated in the past, so the theme creation is inseparable from emotion. The internal force of Chinese painting is in the brush and ink, and in the mutual transformation of contradictions, there are ever-changing and infinite possibilities of expression. When we express the spirit of the times, the spirit of the nation, and the aspirations of the people, we must use pen and ink. Therefore, contemporary painters should have a sense of responsibility to construct or create brushwork that belongs to the new era. However, the new brush and ink must be born from tradition and experience, it is a re-creation, and the basis of this re-creation is the cultural spirit of the Chinese nation.
Xing Qingren "Rose-colored Memories"
Xu Qixiong "Before the Decisive Battle"
Zhao Qi "On the Land"
王冠军《锦瑟年华之九——HELLO,北京》
Tian Liming "Urbanite"
Chen Zhi Wu Xin "Rush Hour"
I would love to see the artistic language of Chinese painting become broader, and the grand narrative must also have a form to keep up. We should inherit the creative style of the older generation of artists, and on this basis, according to the needs of the times and aesthetics, we should produce some works with independent thinking, language exploration, and a sense of heaviness.
(Text/Tian Liming)
Wang Shenglie "Eight Women Cast into the River"
"Liberation of Beiping"
Shi Lu "Turning to Northern Shaanxi"
Yao Duoduo "New Captain"
Zhou Sicong "The People and the Prime Minister"
(Source: "Fine Arts" Magazine Social Media Center)
Artist Profile
Tian Liming, born in Beijing in May 1955 in Hefei, Anhui Province, was admitted to the postgraduate examination of Professor Lu Shen in 1989 and obtained a master's degree in literature in 1991. He has successively served as a member of the Academic Committee of the Central Academy of Fine Arts, a professor, a master's tutor, the director of the Department of Chinese Painting, the president of the Academy of Chinese Painting, the vice president of the China National Academy of Painting, and the executive vice president of the Chinese Academy of Arts. He is currently the honorary dean of the Chinese Academy of Chinese Painting, Chinese Academy of Arts, professor and doctoral supervisor. Director of the Chinese Painting Art Committee of the Chinese Artists Association and President of the Chinese Painting Society.