{"id":191,"date":"2014-04-26T22:19:44","date_gmt":"2014-04-26T14:19:44","guid":{"rendered":"http:\/\/www.meishuwenxian.com\/?p=191"},"modified":"2015-11-23T12:46:46","modified_gmt":"2015-11-23T04:46:46","slug":"%e7%ac%ac81%e6%9c%9f-%e7%a4%be%e4%bc%9a%e9%a3%8e%e6%99%af-%e4%b8%ad%e5%9b%bd%e5%bd%93%e4%bb%a3%e7%bb%98%e7%94%bb%e4%b8%ad%e7%9a%84%e9%a3%8e%e6%99%af","status":"publish","type":"post","link":"https:\/\/www.meishuwenxian.com\/en\/%e7%ac%ac81%e6%9c%9f-%e7%a4%be%e4%bc%9a%e9%a3%8e%e6%99%af-%e4%b8%ad%e5%9b%bd%e5%bd%93%e4%bb%a3%e7%bb%98%e7%94%bb%e4%b8%ad%e7%9a%84%e9%a3%8e%e6%99%af\/","title":{"rendered":"\u7b2c81\u671f \u201c\u793e\u4f1a\u98ce\u666f\u201d\u2014\u2014\u4e2d\u56fd\u5f53\u4ee3\u7ed8\u753b\u4e2d\u7684\u201c\u98ce\u666f\u53d9\u4e8b\u201d\u53ca\u5176\u6587\u5316\u89c2\u5ff5\u53d8\u8fc1\uff082013\uff09"},"content":{"rendered":"

\u7b2c81\u671f \u201c\u793e\u4f1a\u98ce\u666f\u201d\u2014\u2014\u4e2d\u56fd\u5f53\u4ee3\u7ed8\u753b\u4e2d\u7684\u201c\u98ce\u666f\u53d9\u4e8b\u201d\u53ca\u5176\u6587\u5316\u89c2\u5ff5\u53d8\u8fc1\uff082013\u5e74\uff09<\/strong><\/p>\n

\u5b66\u672f\u4e3b\u6301\uff1a\u4f55\u6842\u5f66<\/p>\n

\u4e3b\u9898\uff1a\u5c1a\u626c \u5e9e\u8302\u7428 \u5f20\u5c0f\u6d9b \u5c39\u671d\u9633 \u5415\u5c71\u5ddd \u7533\u4eae \u9a6c\u6587\u5a77 \u5218\u82af\u6d9b<\/p>\n

\u65b0\u4f5c\uff1a\u859b\u677e \u66fe\u68b5\u5fd7 \u53e4\u539f \u674e\u4fca\u5cf0 \u6881\u601d\u8861 \u9ece\u589e\u8f89\u00a0 \u674e\u4e43\u851a \u5370\u7985 \u5218\u4e00\u539f<\/p>\n

Issue No. 81(2013)<\/span><\/p>\n

Theme: Social Landscape: The “Landscape Narration” in Chinese Contemporary Painting as well as its Cultural Concept Changes<\/span><\/p>\n

Academic Host: He Guiyan<\/span><\/p>\n

A.T: Shang Yang, Pang Maokun, Zhang Xiaotao ,Yin Chaoyang, Lv Shanchuan, Shen Liang, Ma Wenting, Liu Xintao<\/span><\/p>\n

A.N: Xue Song, Zeng Fanzhi, Gu Yuan, Li Junfeng, Liang Siheng, Li Zhenghui, Li Naiwei, Yin Chan, Liu Yiyuan<\/span><\/p>\n

\"81\"<\/a><\/p>\n

\u201c\u793e\u4f1a\u98ce\u666f\u201d\u4e2d\u56fd\u5f53\u4ee3\u7ed8?\u4e2d\u7684\u201c\u98ce\u666f\u53d9\u4e8b\u201d\u53ca\u5176\u6587\u5316\u89c2\u5ff5\u53d8\u8fc1<\/p>\n

The “Landscape Narration” in Chinese Contemporary Painting as well as its Cultural Concept Changes<\/p>\n

 <\/p>\n

\u5b66\u672f\u4e3b\u6301\uff1a\u4f55\u6842\u5f66\u00a0 ACADEMIC HOST: HE GUIYAN<\/p>\n

 <\/p>\n

\uff08\u4e03\uff09<\/p>\n

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\uff08\u516b\uff09<\/p>\n

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\uff08\u4e5d\uff09<\/p>\n

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\u4e00\u8a00\u853d\u4e4b\uff0c\u56de\u5f52\u4f20\u7edf\uff0c\u4ece\u4f20\u7edf\u4e2d\u6c72\u53d6\u517b\u6599\uff0c\u827a\u672f\u5bb6\u5e94\u8be5\u771f\u6b63\u53bb\u6316\u6398\u4f20\u7edf\u7684\u56fe\u5f0f\u3001\u8bed\u8a00\u3001\u98ce\u683c\u80cc\u540e\u79ef\u6dc0\u7684\u5185\u6db5\u3001\u7cbe\u795e\uff0c\u800c\u4e0d\u53ea\u662f\u505c\u7559\u5728\u89c6\u89c9\u5c42\u9762\u7684\u5bf9\u67d0\u4e00\u65f6\u671f\u3001\u67d0\u4e00\u7c7b\u578b\u7684\u56fe\u5f0f\u548c\u7b26\u53f7\u8fdb\u884c\u7b80\u5355\u7684\u632a\u7528\uff0c\u6216\u505a\u964c\u751f\u5316\u7684\u56fe\u50cf\u5904\u7406\u3002\u540c\u65f6\uff0c\u5c31\u201c\u793e\u4f1a\u98ce\u666f\u201d\u8fd9\u4e00\u521b\u4f5c\u73b0\u8c61\u800c\u8a00\uff0c\u5176\u91cd\u70b9\u4ecd\u5728\u4e8e\uff0c\u827a\u672f\u5bb6\u5e94\u7acb\u8db3\u4e8e\u5f53\u4e0b\u7684\u6587\u5316\u7acb\u573a\uff0c\u91cd\u65b0\u53bb\u5ba1\u89c6\u81ea\u7136\u88ab\u793e\u4f1a\u5316\u7684\u5386\u53f2\u3002<\/p>\n

\uff08\u5341\uff09<\/p>\n

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 <\/p>\n

VII<\/p>\n

A very typical phenomenon since 2000 is that the contemporary art has deviated from different thinking trends. Unlike in 80s when the trends and phenomenon emerged one after another, in the new period, a linear development came into being. In these ten years, both post-colonial pop landscapes, urban landscape reflecting on post industrialization, the \u201cbottom humanity\u201d landscape mirroring the countryside and marginalized group as well as natural landscape could be observed. However, three kinds of \u201clandscape\u201d will be discussed in the following parts of the article: \u201clandscape of social experience\u201d, \u201cspectacular landscape\u201d and the landscape resorting to the traditional Chinese landscape painting for transformation.<\/p>\n

As for the inner formation of the art concept, the \u201csocialist experience\u201d firstly appeared in 90s China Art: \u201cChina Experience\u201d Exhibition in December, 1993, an exhibition held in Sichuan Province Art Museum. This exhibition is to discuss the trend and direction of Chinese contemporary painting since 1990. According to the curator Wang Lin\u2019s idea, it\u2019s to discover the possibility of the Chinese contemporary art being developing after \u201cpost-89 art\u201d. Another aim of this exhibition is to point out the post-colonial crisis the Chinese art community faced with under the globalization. In 1993, through the Post-89 New Art from China exhibition and the 45th Venice Biennale, the Chinese contemporary art first met the post-colonial problem after entering the global context, and thus began to rethink its cultural identity. Now it is not difficult to find out that the \u201cChina Experience\u201d Exhibition is in essence a criticism on the \u201cPolitical Pops\u201d and \u201cCynical Realism\u201d and an exploration for a new art approach. Although the \u201cPolitical Pops\u201d and \u201cCynical Realism\u201d were avant-garde in earlier 90s, it turns out that these two trends fell into the western post-colonial traps. Critic Li Xianting also commented that, when the Chinese contemporary art became the \u201cspring roll in the international palate\u201d,[In the speech addressed on the \u201c1st Global Chinese Curators Conference\u201d held in Taiwan in 1998, Li Xianting talked about the \u201cSpring Roll\u201d\u00a0 phenomenon of Chinese contemporary art against the international context. Refer to the article \u201cCultural Fragmentation and the Prescription of Cultural Identity\u201d, published in \u201cYellow River\u201d magazine, 1999, volume 2.] the rethinking of the cultural identity of Chinese contemporary art is an urgent must. More than a decade later, the critic Zou Yuejin proposed that the \u201csocialist experience\u201d in the contemporary art should be greatly underlined. However, from their reasoning, both \u201csocialist experience\u201d and \u201cChina experience\u201d are in some degree the same, both concerning how Chinese contemporary art could be involved in the global art community as a local culture.<\/p>\n

As for the works with the \u201csocialist experience\u201d clue, Zhang Xiaogang is no doubt the representative. The Big Family series after 1995 could be regarded as a very important turning point in his artistic practice. From the inner reflection to outward criticism, from the intimate private thinking to the public memory, the artist realize the outbreak of the academism and mid 80s modernism inclination. Since 2007, Zhang Xiaogang started reinforce the \u201csocialist experience\u201d and shifted his focus on the most ordinary living scenes since 50s and 60s. The artist tried to narrate the change of the times though a personal angel via micro mundane scenery and thus wake certain public memory of the Chinese living experience in certain period.<\/p>\n

The works of Zhang Xiaogang and Liu Xiaodong could be regarded as the two poles of the \u201csocial landscape\u201d. The former incepts the reality with individual and micro aspect of the personal memory while the later underscores the reflection of the significant events (migrants from the Three Gorges area) and phenomenon (Qinghai-Tibet Railway) with a grander narrative. But both share the traits of the typical \u201csocialist experience\u201d However, as for the \u201csocialist experience thinking\u201d, different artist\u2019s aspect varies. Some are trying to represent the realism, some base their works on reflection of the past and some are more inclined to the native culture stand in the global context, etc.<\/p>\n

VIII<\/p>\n

Another phenomenon worth paying attention to is the \u201cspectacular landscape\u201d. The world \u201cspectacle\u201d originated from French sociologist Guy Debord\u2019s The Society of the Spectacle. Simply stated, Debord is inspired by Marx\u2019s concept of the \u201cfetishism of the commodity\u201d. For him, the \u201cspectacular\u201d fetishism is the main trait of post industrialization, in which the relationship between people and things is reversely expressed in the way of the relationship between things. In the late stage of the spectacle, even the real things vanish; they are all replaced by the fictitious image and become an illusive landscape. The so called \u201cspectacular landscape\u201d underlined the \u201cappropriation\u201d and \u201cparody\u201d which usually could be seen in the post modern art, the fragmented and inconsistent narration is then advocated. The chaos and the disorder exist together within the aesthetic pursuit of the absurd through the combination of the real and the surreal.<\/p>\n

Pang Maokun\u2019s work could be seen as the representative of this of practice focusing on the \u201cspectacular landscape\u201d. As the artist stated, \u201cI borrowed the definition of \u2018cosplay\u2019, and transplant different life to my visual stage. The realistic depicting manner renders magnified absurdity and makes the audience stop their fixed way of thinking and start coding and interpreting what I put on the canvas. I can\u2019t say that I create a new painting concept, but I\u2019m always trying on exploring new angle of observing the truth\u2026I want to review our reality through this abnormal way, and reveal the truth that we have been consumed and deceived by the information and fashion around us\u201d.[Image Experiences\uff1aAn Interview of He Guiyan with Pang Maokun\uff0cMarch 2010\uff0cfrom art intern.net.] Similarly, Li Changlong\u2019s works also share the characteristic of the \u201cspectacular landscape\u201d. The spectacular imagery come not only from the virtual stage, but also from the plots in different space and time: the ruins from the battle dissimilated natural scenes, isolated artificial rocks, fighting crowds and scary individual, and segmented urban life\u2026When being showed together in the same picture, the multi-meaningful, vague and chaotic system along with the non-context brings the audience the feeling of absurd that difficult to describe. In Century Park, Jiang Huajun depicted a fictional park that doesn\u2019t exist in real world. And the spectacular landscape consists of different animals. It emphasizes on the metaphor and symbols rather than just simply repeating the reality.<\/p>\n

When we talk about the phenomenon of \u201cspectacular landscape\u201d, another question also needs to be solved, namely the change of creative approach of contemporary painting against the backdrop of \u201cimage era\u201d. In late 90s, China society entered the \u201cimage era\u201d constituted by media networks. In all honesty, the \u201cimage conversion\u201d in the contemporary painting is the \u201cphoto conversion\u201d or \u201cphoto translation\u201d. That means the scenes of the \u201cspectacular landscape\u201d are mostly from the converted photos and other visual image, for example, He Wenjue processed the classical movie stills into painting, Lv Shanchuan re-encoded the significant events in the television in two dimensional works, Zhang Xiaotao used the image in the CCTV monitor, etc. In this kind of works, the artists are no longer representing the surface of the world; instead, they alter and appropriate the visual images to build up their fictitious real world. But this also gives rise to another question, namely the change of realism in the visual era. That means, though these photos and images come from the reality, but these are \u201csecond-handed\u201d truth, then where is the \u201creal\u201d truth? We can\u2019t know. Since we couldn\u2019t know the truth of the reality, the meaning of the creating then lies upon how the artists choose different images. This kind of selection becomes meaningful from the very beginning.<\/p>\n

IX<\/p>\n

The third type is the landscape which seeks transformation of form and style from traditions. Following \u201cPure Views: New Painting From China\u201d planned by Lv Peng in 2010, the art circle has set off a wave of returning to tradition in just two years\u2019 time. There is no doubt that returning to tradition naturally has its historical inevitability. Today, the reason why \u201ctraditions\u201d have been able to arouse our general concern is mainly because with the nation as it rising power, China needs to examine anew the issues of the national cultural identity which a nation must possess and of its cultural subjectivity in the context of globalization. This will naturally arouse the consciousness of contemporary Chinese art in cultural subjectivity awareness. More importantly, it can tally with the nation\u2019s cultural development strategy in the new historical period. However, in my opinion, this is just one aspect of the problem. The underlying reason for contemporary art to seek returning and converting to tradition also lies in that an inner crisis has occurred in the narrative discourse of art history which has been adhered by contemporary art since the 1990s. Facing with this crisis, on the one hand, we need to rethink and examine the development process of contemporary art in the past 30 years and the cultural and artistic aspirations of various periods; on the other hand, we need to walk out from the patterns of contemporary art which are dominated by Western standards and \u201cpostcolonial\u201d taste and reconstruct evaluation criteria and value standards.<\/p>\n

As a veteran critic, Lv Peng\u2019s acumen and wisdom lie in that he is well aware that under a new historical condition, contemporary Chinese art needs to reshape its own cultural subjectivity. In other words, the contemporary art with the form and language of Western modern or postmodern art as prerequisites since the 1980s and the politically ironic contemporary art with cynicism and kitsch as aspirations in the 1990s have lost the cultural context and avant-garde which they depend on in today\u2019s cultural situation. Therefore, contemporary art needs to refurbish its own cultural context and establish a new writing mode of art history.<\/p>\n

However, we also should remain vigilant that in terms of the creation of contemporary Chinese paintings, \u201creturning to tradition\u201d is entirely possible to be transformed into a new type of art strategy. Its potential hazards are reflected as follows: the first is creating a group of \u201cpolitically correct\u201d works. The second is playing the card of \u201ccultural nationalism\u201d. Cultural nationalism has close ties with traditions. But once the \u201ctraditions\u201d are developed into a cultural strategy under the background of globalization, this kind of cultural nationalism is not able to get rid of its own narrow-mindedness. The third is creating a group of works catering to the current art market by means of a variety of traditional symbols and schemata. In my opinion, the schemata and symbols of traditional Chinese paintings in artist\u2019s works does not prove that they are based on traditions. Instead, I think that this is precisely a kind of \u201cpseudo-tradition\u201d, a pattern of behavior to vulgarize traditions\u2026\u2026 In fact, most of the so-called \u201creturning to tradition\u201d works we see today are aesthetic but short of intrinsic cultural depth. Therefore, I prefer to look at the problem of \u201creturning to tradition\u201d form the perspective of cultural awareness and evolutionary trace development of contemporary art history. Only in this way, can we avoid the vulgarization and strategization of traditions. [Refer to He Guiyan’s Return to Tradition\uff1aCultural Awareness or a Kind of Art Strategy?collected in \u201cPure Views: Contemporary Art Exhibition Seminar Album\u201d chief editor\uff0cLv Peng; \uff0c297-304.]<\/p>\n

In the camp of contemporary painting, a great deal of artists\u2019 works are inspired by the traditional painting without being confined by the superficial schemata. In \u201cThe Dong Qichang Project\u201d series, Shang Yang expresses an artist\u2019s self-reflection and criticism on the relationship between men and nature in the post-industrial era by conceptualizing the nature. By means of the ritualization of vision, the artist completes the double construction of picture form and personal image system. Meanwhile, the leisurely, aloof and elegant atmosphere diffusing out of the picture endows the work not only the rich literary temperament, but also an underlying oriental cultural identity. In Wu Didi\u2019s \u201cTwenty-four Solar Terms\u201d series, images undoubtedly become the significance-revealing \u201cindex\u201d. Moreover, these images are not the reproduction of nature, but some conceptual images in traditional Chinese concepts. Wu Didi hopes to combine images with text information and makes them connect with traditional cultural concepts. This creative approach has somewhat implications of image archeology. Different from most of the artists who absorb nutrients from tradition, Shen Liang doesn\u2019t confine his creation focus in the aesthetic field of literati painting. He prefers to seek the appropriate visual resources from his childhood memories and favors those lofty and great landscapes with grand narrative or revolutionary romanticism feelings. Similarly, Zhang Fazhi\u2019s works also take landscapes of loftiness, romanticism and hero narrative as objects. But the difference is that Zhang Fazhi injects into his work a kind of deconstruction color because the pretentious, even somewhat exaggerated mood makes the landscape in the picture give out a breath of nihilism.<\/p>\n

In short, in terms of returning to tradition and absorbing nutrients from tradition, artists should really dig into the sedimental connotation and spirit behind traditional schema, language and style rather than just stay in the visual level to simply embezzle the schemata and symbols of a certain period or a certain type, or process defamiliarized images.\u00a0 Meanwhile, for the creation phenomenon of \u201csocial landscape\u201d, its emphasis still lies in that artists should keep a foothold in the current cultural position to re-examine the socialized natural history.<\/p>\n

X<\/p>\n

After the founding of new China, the \u201ctransformation of Chinese painting\u201d began. In the past 60 years, we can see that a series of changes in form, style and art concept have taken place in \u201csocial landscape\u201d: \u201cMao Zedong\u2019s poetic landscape\u201d in the 1960s, landscape as aesthetic modernism (\u201cAnonymous Painting Group\u201d)in the 1970s, \u201cLocal landscape\u201d and landscape as aspiration of cultural modernism (creation in the \u201cNew Wave Art\u201d period ) in the 1980s, post-industrial landscape, urban landscape and landscape of consumerization in the 1990s, and \u201clandscape of socialist experience\u201d, \u201cspectacular landscape\u201d and \u201clandscape which seeks the transformation of form and style from tradition\u201d in the 2000s, etc. In these phenomena, although \u201csocial landscape\u201d still has been divided into narrow sense and broad sense, the boundary of \u201clandscape\u201d is constantly extending outward. Certainly, the evolution of \u201csocial landscape\u201d in form, style and aesthetic taste still depends on the promotion of different cultural discourse. For example, the \u201caesthetic avant-garde\u201d embodied by \u201cAnonymous Painting Group\u201d is exactly a rebellion against the \u201cCultural Revolution Mode\u201d; the landscape paintings with aspiration of cultural modernism which appeared in \u201cNew Wave\u201d period precisely stem from the anxiety on modernism and the yearning for transformation of native culture; and \u201clandscape of socialist experience\u201d is Chinese artists\u2019 response to the context of globalization. It\u2019s not difficult to find that in the field of contemporary Chinese art, \u201csocial landscape\u201d has always been a phenomenon which can not be bypassed. It not only forms its own characterization system, but also has its own forward trajectory of rhetoric method and creation development, corresponding to cultural changes of the times.<\/p>\n

The reason why \u201csocial landscape\u201d has been able to become a unique phenomenon is also because it reflects a basic feature of contemporary Chinese painting: although artists attach importance to the modern form of expression, they are unable to raise the form to the height of modernism; although artists emphasize conceptualized aspirations, they are unable to develop them into a pure conceptual art. In other words, the creation of the \u201csocial landscape\u201d can produce neither the landscape with pure aesthetic modernism as pursuit nor the conceptualized landscape. Instead, \u201clandscape\u201d is just the appearance and the sociological narrative is always hidden in it. This is also the biggest difference between the contemporary art in China and in Europe and America. After the mid-19th century, the development of modern Western art is based on the division between social modernism and aesthetic modernism. It is on this basis that the concept of \u201cart for art\u2019s sake\u201d and the tradition of modernism built on \u201cself-discipline of form\u201dcan appear in the West. However, contemporary Chinese painting relies on \u201cthe whole of modernity\u201d. [\u201cTotal Modernity\u201d is the summary of characters of Chinese modernity by critic Gao Minglu. According to his understanding, different from the \u201csplit modernity\u201d of the West, the feature of the so called \u201ctotal\u201d is that this kind of cultural modernity is directly related with national ideology which cannot be independent from politics and economic system to exist. On the contrary, it must be involved into the cultural structure of the whole country to make sense. Refer to Gao Minglu’s article \u201cDislocation of Space and Time: Chinese Modernity and Avant-Garde\u201d, from Artron.net.]So, only incorporated into the sociological narrative, can the artists\u2019 works make sense.<\/p>\n

Thus, another problem appears. Since it cannot separate from sociological narrative, it also means that contemporary Chinese painting is unable to get rid of the creation concept of realism. Reviewing the development of contemporary art, the backwash against the art mode of \u201cCultural Revolution\u201d essentially originates from two contexts, the creations of critical realism and realism of naturalism. In the specific context of that time, they are also the most fundamental creation methodology of contemporary art. Although the wave of modernism outmatched critical realism during the \u201cNew Wave\u201d period, the realism with \u201cnew generation\u201d and \u201ccynical\u201d as representatives had the upper hand once again under the ideological trend of anti-\u201cNew Wave\u201d grand narrative in the early 1990s. However, at that time, what the \u201ccynical\u201d brought about is a variant of realism. Since the 1990s, the creation concept of realism has not been weakened. Instead, it has been reinforced in the context of globalization because only \u201csocialist experience\u201d can fully embody its own cultural identity. It is from this perspective that for Chinese artists, the \u201clandscape\u201d as visual object and artistic expression is always an important channel to highlight subject value, and the significance of landscape lies exactly in its revealing of how in the past half century, Chinese artists understand nature and society, and express cultural symptoms and individual cultural aspirations of a specific historical period through \u201clandscape\u201d.<\/p>","protected":false},"excerpt":{"rendered":"

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