Great form is beyond shape comment on Yang Xiaoyang’s

Great form is beyond shape: comment on Yang Xiaoyang Cao Yiqiang’s freehand art innovation is the most valuable quality, Yang Xiaoyang’s "freehand" theory and practice is an attempt in this direction. In the context of Chinese art, the word "freehand brushwork" changes with the time and context, and has rich connotation. In fact, not only China art in the world art history in which there is little art culture, which era only to the appearance of the very image as the ultimate goal, and to some extent, the pursuit of the so-called "as the", regardless of their religion, aims to divine the truth, or inner Abstract charm. At the turn of nineteenth Century and at the end of the year, when Kang Youwei saw the paintings of Rafael in Europe, he came to the conclusion that the Chinese and Western art, "the other is the truth, and the truth is not true". Kang Youwei referred to here the "true" means that external images depict, so he said, "Wen (Zhi Ming) (Dong Qichang) into the pen, with refined and profound wins, song and Yuan Dynasties painting the portrait". He will be represented by the text, Dong as the representative of the literati painting in the Ming Dynasty as freehand brushwork, the Song Dynasty and the Yuan Dynasty painting into the "portrait of the painting", and the two relative. Although in today’s view, these views are very questionable, but in the twentieth Century, the development of the western art realism, the two opposite Chinese art freehand "or the formation of a wide range of influence. Today, we have a long history of art beyond Kang Youwei. Although I think the use of "freehand" and "realistic" such a concept to distinguish between Chinese and Western art is too simple, but throughout the history of Western art, we will get an overall impression, namely China art for Western art, whether in the form of performance, or in the interest of express, creator of self expression hand, the orientation and the essence is the "freehand". Kang Youwei will simply equal to depict the portrait images, this view or influenced by the western theory of "reproduction". However, in the China classic painting works, the "true" concept is not a "likeness" (Xiao Si), but image and philosophy on the abstract nature, close to the West said "truth" (the truth). Jing Hao in "style in mind" that "the true images of objects"; Yan Cong described in "painting record" in "brush pen with really good fortune," the example. Zhang Yanyuan "art history" more clearly pointed out that "the husband like things is similar, similar to the shape of the backbone, backbone, all in the conception", "spirit if not, empty like chen,…… That is, "" non wonderful shape, not the spirit…… , the painting is also". The so-called "true" and "character", is how to talk about art can transcend to the representation of the copy, and really took the good fortune of nature. Whether things really take, style; or Yiwuwangxing, construction of image, to explore the "meaning" and presented as a target. This "meaning" is the originality of Chinese culture, if you want to find a concept in English and the corresponding, the "Idea" (the idea or the highest form prototype) or can match. It is not only the idea of each head, but also.相关的主题文章: