{"id":185,"date":"2014-04-26T22:18:40","date_gmt":"2014-04-26T14:18:40","guid":{"rendered":"http:\/\/www.meishuwenxian.com\/?p=185"},"modified":"2015-11-23T12:45:09","modified_gmt":"2015-11-23T04:45:09","slug":"%e7%ac%ac78%e6%9c%9f-%e6%a6%82%e5%bf%b5%e8%b6%85%e8%b6%8a-%e9%87%8d%e6%96%b0%e5%8b%98%e5%ae%9a%e7%9a%84%e5%b7%a5%e7%ac%94%e7%94%bb%e8%be%b9%e7%95%8c%ef%bc%882012","status":"publish","type":"post","link":"https:\/\/www.meishuwenxian.com\/en\/%e7%ac%ac78%e6%9c%9f-%e6%a6%82%e5%bf%b5%e8%b6%85%e8%b6%8a-%e9%87%8d%e6%96%b0%e5%8b%98%e5%ae%9a%e7%9a%84%e5%b7%a5%e7%ac%94%e7%94%bb%e8%be%b9%e7%95%8c%ef%bc%882012\/","title":{"rendered":"\u7b2c78\u671f \u6982\u5ff5\u8d85\u8d8a\u2014\u2014\u91cd\u65b0\u52d8\u5b9a\u7684\u201c\u5de5\u7b14\u753b\u201d\u8fb9\u754c\uff082012\uff09"},"content":{"rendered":"

\u7b2c78\u671f \u6982\u5ff5\u8d85\u8d8a\u2014\u2014\u91cd\u65b0\u52d8\u5b9a\u7684\u201c\u5de5\u7b14\u753b\u201d\u8fb9\u754c\uff082012\u5e74\uff09<\/strong><\/p>\n

\u5b66\u672f\u4e3b\u6301\uff1a\u676d\u6625\u6653<\/p>\n

\u4e3b\u9898\uff1a\u5f20\u89c1 \u676d\u6625\u6656 \u90d1\u5e86\u4f59 \u59dc\u5409\u5b89 \u90dd\u91cf \u5f90\u534e\u7fce \u79e6\u827e \u5f6d\u5fae<\/p>\n

\u65b0\u4f5c\uff1a\u738b\u5929\u5fb7 \u674e\u5609\u5112 \u5218\u4e00\u539f \u6731\u96c5\u6885 \u845b\u6d2a\u5f3a \u4faf\u52c7<\/p>\n

Issue No. 78(2012)<\/span><\/p>\n

Theme: Conceptual Transcendence: Redefineing the Boundaries of the Traditional Chinese Realistic Painting<\/span><\/p>\n

Academic Host: Hang Chunxiao<\/span><\/p>\n

A.T: Zhang Jian , Hang Chunhui, Zheng Qingyu, Jiang Ji`an, Hao Liang, Xu Hualing, Qin Ai, Peng Wei<\/span><\/p>\n

A.N: Wang Tiande, Li Jiaru, Liu Yiyuan, Zhu Yamei, Ge Hongqiang, Hou Yong<\/span><\/p>\n

\"78\"<\/a><\/p>\n

\u6982\u5ff5\u8d85\u8d8a<\/p>\n

\u91cd\u65b0\u52d8\u5b9a\u7684\u300e\u5de5\u7b14\u753b\u300f\u8fb9\u754c<\/p>\n

CONCEPTUAL TRANSCENDENCE<\/p>\n

REDEFINING THE BOUNDARIES OF THE TRADITIONAL CHINESE REALISTIC PAINTING<\/p>\n

 <\/p>\n

\u5b66\u672f\u4e3b\u6301\u00a0\u00a0\u00a0 \uff1a\u676d\u6625\u6653\u00a0\u00a0\u00a0 ACADEMIC : HANG CHUNXIAO<\/p>\n

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\u2474\u91d1\u57ce\uff1a\u300a\u5341\u516b\u56fd\u6e38\u5386\u65e5\u8bb0\u300b\uff0cP180\uff0c\u8f7d\u6c88\u4e91\u9f99\u4e3b\u7f16\u300a\u8fd1\u4ee3\u4e2d\u56fd\u53f2\u6599\u4e1b\u520a\u00b7\u7eed\u7f16\u300b\u7b2c205\u518c\uff0c\u53f0\u5317\u6587\u6d77\u51fa\u7248\u793e1976\u5e74\u7248\u3002<\/p>\n

2012\u5e746\u67088\u65e5\u4e8e\u671b\u4eac<\/p>\n

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The conceptualized \u201ctraditional Chinese realistic painting\u201d is a \u201cburden\u201d, due to its emphasis on \u201ctechniques\u201d easily resulting in viewers\u2019 neglect of the meaning of \u201cpainting\u201d – a path to view the world. Under the delicate and neat intention, \u201cthe traditional Chinese realistic painting\u201d now has the beauty in forms as its center of viewing, concerning itself with questions like \u201chow to produce the image?\u201d or \u201chow to present the perception?\u201d while neglecting the focus on human beings. As a result, \u201cthe traditional Chinese realistic painting\u201d drifts far away from the current \u201ctradition\u201d. The question is: is it really that \u201ctraditional\u201d as we imagine? The answer is negative. You may be surprised – its juxtaposition with the \u201cthe free sketch painting\u201d is a division that has been long in existence, isn\u2019t it? Actually, it\u2019s not as taken granted as \u201cimagined\u201d. \u201cThe traditional Chinese realistic painting\u201d together with its juxtaposition with \u201cthe free sketch painting\u201d were \u201cborn\u201d as a response to the western realism at the turn of the 20th century – \u201cthe mainstream of the Chinese painting before the Southern Song Dynasty is the realistic painting, but after the reign of Emperor Huizong of Northern Song Dynasty, the trend has shifted towards the free sketch painting which put more focus on the spirit instead of the appearance – a truly extraordinary quality of the painting. It inspired not only painting but also literature, producing supreme works that present unspeakable yet amazing beauty. The lashing on Chinese painting from those in favor of the realism of the western painting was deeply rooted in prejudice.\u201d\u2474That is to say, \u201cthe traditional Chinese realistic painting\u201d was defined as the counter concept of \u201cthe free sketch painting\u201d in order to show that Chinese painting does not lack in the department of \u201crealism\u201d of representation and eliminate \u201cprejudice\u201d. The division was nowhere to be found in the previous literature on painting.<\/p>\n

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I didn\u2019t bring this up to judge our predecessors, but rather a reflection on the initial \u201cintention\u201d when the concept of \u201cthe traditional Chinese realistic painting\u201d first came into being, or the historical will. In traditional painting, the standards of painting genres are distinguished based upon the objects of painting, such as landscape, people, horses, flowers and birds, or the styles of painting – supreme, vivid, skillful or fantastic, lacking in methodical division. An investigation into this will find the Chinese regarding painting as a means to get in touch with the holiness and penetrate the philosophy of life, providing the viewers with such experience, regardless of the ways by which to achieve that effect. Therefore, a painting can be skillful and fantastic as well as supreme and vivid, be the means of depiction realistic or free-style. But such subjective viewing approach came under huge impact at the beginning of the 20th century. The western realism which was based on the thinking of evolution brought up the subject of portrait and depiction, which is the aesthetic mode of naturalism – presuming objective reality does exist in the world, the plane painting can reproduce the objective reality through some illusionary method. Thus the change in the objective of painting: the traditional inspirational viewing approach was no longer \u201clofty and supreme\u201d, instead it became a drawback, a \u201cprejudice\u201d according to JIN Cheng. In order to rectify the \u201cprejudice\u201d, we need to search for the gene of \u201creproducing\u201d the nature in the tradition, naturally pushing methods into the center of attention, for the subjectification in reading could not be cured without an objective method. From a certain angle, the division of \u201cthe traditional Chinese realistic painting\u201d and \u201cthe free sketch painting\u201d was the product of the impact of western scientific viewing. It\u2019s a coerced diversion in \u201cthe experience of painting reading\u201d which superficially appeared to be a change in \u201cnouns\u201d: replacing the subjective appreciation of the effect of the frame with the objective verification of the depicted objects.<\/p>\n

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Under such logic, \u201cthe traditional Chinese realistic painting\u201d was born with a strong gene of the western culture instead of our own \u201ctradition\u201d. What needs to be established here is that pointing it out is not an advocation of \u201cnationalism\u201d – eliminate alien genes and return to traditions. On the contrary, it was directed against the creative ideas that deemed \u201cthe traditional Chinese realistic painting\u201d to be \u201ctradition\u201d with no room for change. Evidently, the cultural encounter of today is a melting pot of varied cultures, making any attempt to purify one\u2019s own lineage an impractical belittling act, which is especially true in the field of \u201cthe traditional Chinese realistic painting\u201d – born with a passive hybrid quality, because of which \u201cthe experience painting reading\u201d was changed, bringing about judging standards such as \u201cwhether it\u2019s lifelike, whether it\u2019s accurate, or whether it\u2019s delicate\u201d, granting validity to the judgment. And it\u2019s exactly because of this hybrid that the birth of the concept of \u201cthe traditional Chinese realistic painting\u201d could offer other possibilities to the aesthetic experience to the Chinese painting – activating the traditional expression capability, enabling remarkable change in the Chinese painting\u2019s ability in the depiction of nature. However, the \u201cactivation ability\u201d of any new concept will eventually be \u201csealed off\u201d due to the birth of new criterion, with its cultural representation as the self-determination of the genre boundary, just like today\u2019s \u201ctraditional Chinese realistic painting\u201d gradually becoming a self-sealing painting concept with definite boundaries under the certainty of creative ideas of thematization, representation and modeling; under the certainty of creative forms of sketch, color filling and multiple rendering; and even under the certainty of creative materials of rock colors and enriched colors, posing itself as \u201cthe tradition\u201d and shutting the door to new possibilities. In fact, this self-posing traditional concept was born for the very purpose of breaking the tradition. For that matter, \u201cthe traditional Chinese realistic painting\u201d as a concept didn\u2019t possess the stable foundation to represent \u201cthe tradition\u201d at all – it\u2019s a concept that changes the expression pattern of the traditional painting in \u201cthe flow and change\u201d. Therefore, any attempt to consolidate the viewing approach, creative pattern or even the genre boundary of \u201cthe traditional Chinese realistic painting\u201d is a deviation from the initial intention at the birth of the \u201cconcept\u201d. That is to say, today\u2019s \u201ctraditional Chinese realistic painting\u201d shouldn\u2019t and couldn\u2019t become a sealed-off genre of painting. It needs to maintain the \u201cflow and change\u201d under unceasing self-scrutiny, thus continuously self-activating and boundary-broadening. As a result, putting forward the notion of the conceptual transcendence of \u201cthe traditional Chinese realistic painting\u201d is not a denial of \u201cthe traditional Chinese realistic painting\u201d, but an activation of the creation of \u201cthe traditional Chinese realistic painting\u201d in a redefined boundary – to present the expression ability of the traditional painting resources in the new visual structure, just like the traditional painting resources activating the depiction of nature through changing \u201cthe experience of painting reading\u201d at the beginning of the birth of \u201cthe traditional Chinese realistic painting\u201d. As of today, the \u201cconceptual transcendence\u201d of \u201cthe traditional Chinese realistic painting\u201d is also entrusted with such goals; casting away the \u201cresting-on-the-throne\u201d cultural stance, and enabling creation to exert its ability of intervention and expression into \u201cthe now\u201d.<\/p>\n

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Only in this way could the \u201cpainting resources\u201d be prevented from turning into the archaic \u201ctradition\u201d \uff08expressing the set objective in a set visual structure\uff09 and fully release their potential expressive ability in the new expression pattern. It\u2019s indeed fundamental for the transformation of any set cultural mode to understand this. The reason is simple – the original cultural mode cannot have the self-upgrading space and ability without the structural change brought about by the expression pattern. What\u2019s noteworthy is that a bunch of new-type creative attempts in the filed of the traditional Chinese realistic painting in recent years were exactly the effort in the transformation of the expression pattern of \u201cthe traditional Chinese realistic painting\u201d to present the self-activating dynamics of \u201cthe painting genre\u201d. From the exploration of the sporadic individual cases of the 1990s, such as Xu Lei\u2019s \u201cGraphic Expression\u201d to the group creations gushing out in recent years, such as Jiang Ji\u2019an\u2019s \u201cConceptual Vision\u201d, Xu Hualing\u2019s \u201cRecreation of the Viewing\u201d, Peng Wei\u2019s \u201cBreaking out on the Easel\u201d and \u201cThe Reconstruction of Image\u201d by Zhang Jian, Qin Ai and others, numerous \u201cbizarre\u201d visual structures were continually dissolved to reconstruct the boundary of \u201cthe traditional Chinese realistic painting\u201d in our concepts and bring the brand new expression pattern: shifting from the expression tool of the set logics of \u201cnaturalism\u201d and \u201caestheticism\u201d into the interaction between \u201cthe vision\u201d and \u201cthe intention\u201d and \u201cthe concept\u201d, thus achieving the opening of the target of expression. This endeavor undoubtedly transformed the \u201ctradition\u201d into a path of re-experience instead of a classical mourning, thus equipping the seemingly traditional painting genre with the ability of intervention into \u201cthe now\u201d. What\u2019s more important is the incessant surging of new works and younger artists in the creative group is a clear symbol of the endeavor of \u201credefining the boundary\u201d in an open and sustainable status, full of possibilities and future, instead of a sealed-off and formatted \u201cpainting genre\u201d. And this will unquestionably help similar researches maintain a kind of energy and stay in the continuous \u201cmovement\u201d of self-scrutiny – attempting to break through the constraints of traditional experience and release Chinese painting\u2019s expression of the current cultural experience, thus becoming the most remarkable \u201ccontemporization\u201d movement of the Chinese painting in recent years.<\/p>\n

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Of course, the \u201ccontemporization\u201d of \u201cthe new Chinese realistic painting\u201d is different from the \u201ccontemporary art\u201d that we\u2019re familiar with. It\u2019s not a \u201ccontemporary\u201d appeal in the western art history logics, but rather something happening in the \u201cmeaning\u201d structure of the self logics of the Chinese painting – reconstructing the expression relationship between the cultural tradition and the current survival experience and cultural experience. Certainly such judgment is not a denial of it being influenced by \u201cthe contemporary art\u201d or even its possibility of intervening \u201cthe contemporary art\u201d, but some induction of \u201cmeaning in the theoretical sense. What should be alerted is that to every individual an induction is never a complete summarization, for individuals differ in logics when confronted with questions, which leads to variances in the approaches of experience and results, resulting naturally in the diversity of results, an abundance that cannot be summed up in theory. And it\u2019s exactly because of this that the \u201cthe conceptual transcendence\u201d of \u201cthe new Chinese realistic painting\u201d was brought up – instead of a historical judgment of artistic styles, it\u2019s based on the cultural \u201cactivation\u201d functions that it possesses: pursuing the contemporary expression pattern of \u201cthe traditional resources\u201d and becoming the cultural representation that manifests \u201cthe tradition\u201d currently encountering some \u201cin-depth fission\u201d.<\/p>\n

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Note:<\/p>\n

\u2474 P180 A Tourist Journal of 18 Countries by Jin Cheng, published in Volume 205 of Modern Chinese History Series — Sequel edited by Shen Yunlong. Taipei Wenhai Press 1976.<\/p>\n

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Hang Chunxiao<\/p>\n

Written in Wangjing on Jun 8, 2012<\/p>","protected":false},"excerpt":{"rendered":"

\u7b2c78\u671f \u6982\u5ff5\u8d85\u8d8a\u2014\u2014\u91cd\u65b0\u52d8\u5b9a\u7684\u201c\u5de5\u7b14\u753b\u201d\u8fb9\u754c\uff082012\u5e74\uff09 \u5b66\u672f\u4e3b\u6301\uff1a\u676d\u6625\u6653 \u4e3b\u9898\uff1a\u5f20\u89c1 \u676d\u6625\u6656 \u90d1\u5e86\u4f59 \u59dc […]<\/p>","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[37,149],"class_list":["post-185","post","type-post","status-publish","format-standard","hentry","category-e-magazine","tag-37","tag-149"],"blocksy_meta":{"styles_descriptor":{"styles":{"desktop":"","tablet":"","mobile":""},"google_fonts":[],"version":6}},"_links":{"self":[{"href":"https:\/\/www.meishuwenxian.com\/en\/wp-json\/wp\/v2\/posts\/185","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.meishuwenxian.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.meishuwenxian.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.meishuwenxian.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.meishuwenxian.com\/en\/wp-json\/wp\/v2\/comments?post=185"}],"version-history":[{"count":7,"href":"https:\/\/www.meishuwenxian.com\/en\/wp-json\/wp\/v2\/posts\/185\/revisions"}],"predecessor-version":[{"id":4819,"href":"https:\/\/www.meishuwenxian.com\/en\/wp-json\/wp\/v2\/posts\/185\/revisions\/4819"}],"wp:attachment":[{"href":"https:\/\/www.meishuwenxian.com\/en\/wp-json\/wp\/v2\/media?parent=185"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.meishuwenxian.com\/en\/wp-json\/wp\/v2\/categories?post=185"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.meishuwenxian.com\/en\/wp-json\/wp\/v2\/tags?post=185"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}