{"id":202,"date":"2014-04-26T22:21:43","date_gmt":"2014-04-26T14:21:43","guid":{"rendered":"http:\/\/www.meishuwenxian.com\/?p=202"},"modified":"2015-11-23T12:48:48","modified_gmt":"2015-11-23T04:48:48","slug":"%e7%ac%ac85%e6%9c%9f-%e5%9b%9e%e5%bd%92%e4%ba%8e%e8%a7%86%e8%a7%89%e6%9c%ac%e8%ba%ab%ef%bc%882013%ef%bc%89","status":"publish","type":"post","link":"https:\/\/www.meishuwenxian.com\/en\/%e7%ac%ac85%e6%9c%9f-%e5%9b%9e%e5%bd%92%e4%ba%8e%e8%a7%86%e8%a7%89%e6%9c%ac%e8%ba%ab%ef%bc%882013%ef%bc%89\/","title":{"rendered":"\u7b2c85\u671f \u56de\u5f52\u4e8e\u89c6\u89c9\u672c\u8eab\uff082013\uff09"},"content":{"rendered":"<p><strong>\u7b2c85\u671f \u56de\u5f52\u4e8e\u89c6\u89c9\u672c\u8eab\uff082013\u5e74\uff09<\/strong><\/p>\n<p>\u5b66\u672f\u4e3b\u6301\uff1a\u738b\u6613\u7f61 \u4ed8\u6653\u4e1c<\/p>\n<p>\u4e3b\u9898\uff1a\u5b8b\u5143\u5143 \u95eb\u73e9 \u5546\u6210\u7965 \u5f20\u535a\u592b \u803f\u65d6\u65ce \u6768\u5e06 \u6c99\u5b50\u9274 \u4ed8\u7ecf\u5ca9 \u97e6\u52a0<\/p>\n<p>\u65b0\u4f5c\uff1a\u9648\u6587\u4ee4 \u6d2a\u8000 \u4faf\u62d9\u543e \u6c88\u4f1f \u5f6d\u71c3 \u90d1\u5b9d\u6210 \u66fe\u6167<\/p>\n<p class=\"a\" style=\"margin: 0cm; margin-bottom: .0001pt;\"><span style=\"font-size: 10.5pt; font-family: \u5b8b\u4f53;\">Issue No. 85(2013)<\/span><\/p>\n<p class=\"-\" style=\"margin-bottom: .0001pt;\"><span style=\"font-size: 10.5pt; font-family: \u5b8b\u4f53;\">Theme: Regression to Vision Itself<\/span><\/p>\n<p class=\"-\" style=\"margin-bottom: .0001pt;\"><span style=\"font-size: 10.5pt; font-family: \u5b8b\u4f53;\">Academic Host: Wang Yigang, Fu Xiaodong<\/span><\/p>\n<p class=\"-\" style=\"margin-bottom: .0001pt;\"><span style=\"font-size: 10.5pt; font-family: \u5b8b\u4f53;\">A.T:Song Yuanyuan, Yan Heng, Shang Cheng Xiang, Zhang Bofu, Geng Yini, Yang Fan, Sha Zijian, Fu Jingyan, Wei Jia<\/span><\/p>\n<p class=\"-\" style=\"margin-bottom: .0001pt;\"><span style=\"font-size: 10.5pt; font-family: \u5b8b\u4f53;\">A.N: Chen Wenling, Hong Yao, Hou Zhuowu, Shen Wei, Peng Ran, Zheng Baocheng, Zeng Hui<\/span><\/p>\n<p><a href=\"http:\/\/www.meishuwenxian.com\/wp-content\/uploads\/2014\/04\/85.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-large wp-image-228\" src=\"http:\/\/www.meishuwenxian.com\/wp-content\/uploads\/2014\/04\/85-600x800.jpg\" alt=\"85\" width=\"600\" height=\"800\" \/><\/a><\/p>\n<p>\u56de\u5f52\u4e8e\u89c6\u89c9\u672c\u8eab<\/p>\n<p><strong>Regression to Vision Itself <\/strong><\/p>\n<p>\u5b66\u672f\u4e3b\u6301\uff1a\u738b\u6613\u7f61\u00a0 ACADEMIC HOST: WANG YIGANG<\/p>\n<p>&nbsp;<\/p>\n<p>\u7f16\u8005\u6309<\/p>\n<p>&nbsp;<\/p>\n<p>\u672c\u671f\u6211\u4eec\u9080\u8bf7\u4e86\u738b\u6613\u7f61\u8001\u5e08\u6765\u4f5c\u4e3a\u63a8\u8350\u4e1c\u5317\u5e74\u8f7b\u827a\u672f\u5bb6\u7684\u4e3b\u6301\u30022006\u5e74\uff0c\u7531\u6211\u548c\u5b59\u5b81\u5171\u540c\u7b56\u5212\u7684\u201c\u4e0a\u623f\u62bd\u68af\u201d\u7684\u5173\u4e8e70\u5e74\u4ee3\u4e1c\u5317\u5e74\u8f7b\u827a\u672f\u5bb6\u7684\u7fa4\u5c55\uff0c\u7b2c\u4e00\u6b21\u7cfb\u7edf\u5730\u5448\u73b0\u4e86\u4e1c\u5317\u5730\u533a\u5b9e\u529b\u6d3e\u7ed8\u753b\u7cfb\u7edf\u7684\u9762\u8c8c\u3002\u5f53\u65f6\u662f\u5de5\u4e1a\u8f6c\u578b\u65f6\u671f\uff0c\u91cd\u5de5\u4e1a\u4e3a\u4e3b\u7684\u94c1\u897f\u533a\u5927\u9762\u79ef\u62c6\u8fc1\u7559\u4e0b\u5927\u6279\u7684\u5e9f\u589f\uff0c\u5de5\u4eba\u5927\u6279\u91cf\u4e0b\u5c97\uff0c\u5e9f\u589f\u6210\u4e3a\u4e00\u4e2a\u65f6\u4ee3\u548c\u96c6\u4f53\u7684\u9690\u55bb\uff0c\u7406\u60f3\u4e2d\u7684\u793e\u4f1a\u4e3b\u4e49\u5e7b\u89c9\u5728\u4e00\u7247\u5e9f\u589f\u4e2d\u7834\u706d\u3002\u8fd9\u4e9b\u827a\u672f\u5bb6\u5728\u4ee5\u5199\u5b9e\u7684\u5f62\u5f0f\uff0c\u53d9\u4e8b\u7684\u60c5\u8282\u800c\u8fdb\u884c\u89c2\u5ff5\u6027\u7684\u53cd\u903b\u8f91\u521b\u4f5c\uff0c\u4ee5\u53ef\u4ee5\u611f\u77e5\u7684\u89c6\u89c9\u5f62\u8c61\u521b\u9020\u4e00\u4e2a\u601d\u7ef4\u7684\u9677\u9631\uff0c\u6210\u4e3a\u4e86\u8fd9\u6b21\u5c55\u89c8\u7684\u4e3b\u8981\u5185\u5bb9\u3002\u56fe\u50cf\u5f62\u6210\u4e00\u79cd\u8bdd\u8bed\u822c\u7684\u4fee\u8f9e\uff0c\u5728\u8868\u5f62\u3001\u8868\u610f\uff0c\u751a\u81f3\u8868\u97f3\u7b49\u65b9\u5411\uff0c\u56fe\u50cf\u7684\u53ef\u80fd\u6027\u88ab\u66f4\u5927\u9650\u5ea6\u5730\u6253\u5f00\u4e86\u3002\u8fd9\u4e00\u65b9\u6cd5\uff0c\u5728\u540e\u6765\u51e0\u4e4e\u6210\u4e3a\u4e1c\u5317\u5e74\u8f7b\u827a\u672f\u5bb6\u7684\u503e\u5411\uff0c\u5728\u540e\u6765\u51e0\u5e74\u7684\u6bd5\u4e1a\u5c55\u4e0a\u53ef\u4ee5\u5f88\u660e\u663e\u5730\u770b\u5230\u201c\u4e0a\u623f\u62bd\u68af\u201d\u5f0f\u7684\u8c03\u4f83\u548c\u4f24\u611f\u8da3\u5473\u7684\u5ef6\u7eed\uff0c\u800c\u533a\u522b\u4e8e\u5b66\u9662\u4f53\u7cfb\u7684\u6559\u5b66\u6837\u5f0f\u3002\u672c\u671f\u6240\u63a8\u8350\u7684\u827a\u672f\u5bb6\u4e2d\uff0c\u57fa\u672c\u90fd\u662f\u201c\u4e0a\u623f\u62bd\u68af\u201d\u4e4b\u540e\u51fa\u73b0\uff0c\u5e76\u6d3b\u8dc3\u5728\u4e1c\u5317\u768480\u4e00\u4ee3\u7684\u5e74\u8f7b\u827a\u672f\u5bb6\uff0c\u4ed6\u4eec\u5404\u81ea\u6709\u7740\u81ea\u5df1\u4e0d\u540c\u7684\u65b9\u5411\u548c\u9762\u8c8c\uff0c\u5e76\u5728\u4e0d\u65ad\u5730\u5b8c\u5584\u7740\u81ea\u5df1\u7684\u4f53\u7cfb\u3002\u5b8b\u5143\u5143\u6bd5\u4e1a\u4e8e\u6444\u5f71\u7cfb\uff0c\u7528\u4ed6\u72ec\u7279\u7684\u5bf9\u6444\u5f71\u56fe\u50cf\u7684\u7406\u89e3\u6539\u9020\u602a\u5f02\u7684\u5ba4\u5185\u7a7a\u95f4\uff0c\u901a\u8fc7\u955c\u5934\u4e00\u822c\u7684\u5b54\u6d1e\u91cd\u65b0\u770b\u5f85\u7ed8\u753b\u3002\u803f\u65d6\u65ce\u7684\u80d6\u5b50\u7cfb\u5217\u548c\u6905\u5b50\u7cfb\u5217\uff0c\u5bf9\u7ed8\u753b\u89c6\u89c9\u5143\u7d20\u7684\u64cd\u63a7\u8fd0\u7528\u81ea\u5982\uff0c\u8c03\u4f83\u548c\u8352\u8bde\u7684\u60c5\u8282\u8bbe\u7f6e\u5982\u540c\u5355\u5200\u76f4\u5165\u3002\u5f20\u535a\u592b\u6bd5\u4e1a\u4e8e\u5361\u585e\u5c14\u7f8e\u9662\uff0c\u4f4e\u6c89\u538b\u6291\u800c\u96c6\u805a\u6f5c\u5728\u7684\u7206\u53d1\u80fd\u91cf\u5728\u753b\u9762\u4e2d\u900f\u8fc7\u5355\u7eaf\u800c\u6c89\u7a33\u7684\u989c\u8272\u5f97\u4ee5\u627f\u8f7d\u3002\u95eb\u73e9\u662f\u4ee5\u88c5\u7f6e\u548c\u7ed8\u753b\u4e92\u76f8\u7ed3\u5408\u7684\u7ed8\u753b\uff0c\u4e5f\u7528\u4e66\u5199\u548c\u9ed1\u677f\u7684\u7269\u8c61\u628a\u6587\u5b57\u548c\u56fe\u50cf\u4f5c\u4e3a\u4e00\u79cd\u8d85\u73b0\u5b9e\u7684\u8499\u592a\u5947\uff0c\u628a\u538b\u6291\u3001\u63a7\u5236\u548c\u75af\u72c2\u5408\u7406\u5730\u62fc\u8d34\u5230\u4e00\u8d77\u3002\u5546\u6210\u7965\u4ee5\u65e0\u6bd4\u7684\u8010\u5fc3\u5bf9\u7ec6\u5bc6\u800c\u7ea0\u7ed3\u7684\u7269\u4f53\u5145\u6ee1\u5174\u8da3\uff0c\u5e76\u5728\u6495\u88c2\u3001\u7834\u788e\u7684\u77ac\u95f4\uff0c\u5728\u52a8\u7269\u548c\u4eba\u6027\u4e4b\u95f4\uff0c\u5448\u73b0\u4e86\u4e00\u4e2a\u65f6\u4ee3\u7684\u7cbe\u795e\u56fe\u666f\u7684\u753b\u9762\u3002\u6768\u5e06\u4ee5\u4e00\u79cd\u88c5\u7f6e\u6446\u62cd\u548c\u76f8\u673a\u95ea\u5149\u7684\u6548\u679c\u5b8c\u6210\u753b\u9762\uff0c\u94ae\u6263\u7cfb\u5217\u66f4\u52a0\u7684\u7834\u788e\u5316\uff0c\u5206\u79bb\u5316\u3002\u4ed8\u7ecf\u5ca9\u7684\u4f5c\u54c1\u4ee5\u574f\u753b\u7684\u7a1a\u62d9\u7684\u7b14\u89e6\u65b9\u5f0f\uff0c\u4f20\u8fbe\u7740\u89c6\u89c9\u8bb0\u5fc6\u4e2d\u7684\u8352\u8bde\uff0c\u6216\u8005\u89c6\u89c9\u89c2\u5ff5\u7684\u53e0\u52a0\u3002\u97e6\u52a0\u7684\u4f5c\u54c1\u5219\u7528\u4e00\u79cd\u63a5\u8fd1\u4e8e\u62bd\u8c61\u7684\u5f62\u5f0f\u4f20\u8fbe\u4e2a\u4eba\u7684\u8bb0\u5fc6\u548c\u60c5\u611f\u7684\u5ba3\u6cc4\u3002\u6211\u975e\u5e38\u8363\u5e78\u5730\u5411\u8bfb\u8005\u63a8\u8350\u8fd9\u4e9b\u9887\u5177\u5b9e\u529b\u7684\u66f4\u65b0\u4e00\u4ee3\u7684\u6765\u81ea\u4e1c\u5317\u7684\u9752\u5e74\uff0c\u5e76\u5171\u540c\u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many times we do not believe our eyes or vision itself; rather, we would trust a kind of interpretation of texts or narratives, which seemed more credible than the uncertain visual sense. In terms of the thinking patterns, the credibility of the interpretation of texts and narratives will dwarf the directness and vividness of vision unconsciously. We are in a multi-element time flushing with picture-interpretation rather than picture-appreciation. I remember that in A Concise History of Modern Painting, H. Read said that &#8220;the sum of the history of modern paintings is the evolution history of human&#8217; s vision.&#8221; Without vision, there would hardly be any new attainment in a special transforming time. Maybe texts and narratives today have formed a new subject and another means of expression, but I still believe in vision itself and people&#8217; s first-hand feeling.<\/p>\n<p>&nbsp;<\/p>\n<p>We can retrospect the development history of the northeastern art, which has played its special role in the special history process. However, it&#8217; s still an art within the system. We should learn to face up to history that the previous glory within the system is not equal to the present achievement. If there is still tradition today, it is not revolutionary art extolling hard struggle any more in that this kind of art has lost the specific environment and the revolutionary targets. At present, this tradition has been transformed to &#8220;Luxun Academy of Fine Arts&#8221;. It is the accumulation of sensible visual experience in a special region, established by the long-term teaching practices and artists&#8217; hard work. If we drop this mastery of visual laws and experience, we will have no tradition to rely on. And if we still hold the so-called virtual-realism &#8211; the representational realism as the tradition, we will lose the survival condition in the context of globalization nowadays.<\/p>\n<p>&nbsp;<\/p>\n<p>The multi-element today has developed from non-mainstream to actions of mistrusting or continually querying the mainstream. The negation and query of subjects in many paintings or other arts today have become a new phenomenon. Foucault&#8217; s cognition of the death of subjects may be a relatively clear expression covering today&#8217; s new way of composing texts and narratives. The fading of these ideas is like the rising of them. Just like the way classical thoughts were shaken around the 18th Century, if these ideas were shaken by some incident whose possibility can not be told yet or can at most be hunched, it can be bet that human will fade like a face drawn on the beach. Foucault holds that humans are like the drawings on the beach flushed by tides and ebbs, leaving nothing behind, neither memory nor trace. In this sense, death and the meaningless, negated and queried subjects are the main awareness formed by life itself and artistic creation. The subject and object are to be liberated from the eternal and unchangeable principles and conceptions, i.e., &#8220;I cannot design myself freely, but have to submit to verbal and nonverbal practices&#8221;.<\/p>\n<p>As with our birth, our growth starts from negating subjects continually, which is not a wrong, or rebellious, or immoral, or unethical behavior, but the rethinking and progress in regression. The resistance to subjects enables us to be more authentic, which is the liberation of self-awareness. Breaking out from the traditional, habitual and conventional opinions, a new hope and promise will rise up.<\/p>\n<p>&nbsp;<\/p>\n<p>Regression may be out of frustration or a new start point. If figuring out the visual and watching ways is considered a valid basic question, it will be a relatively direct and substantial question among the complex artistic phenomena. Starting from this question, we will rethink about it from another perspective.<\/p>\n<p>&nbsp;<\/p>\n<p>The development of northeastern young artists has its special development pattern with regional features, in which the influence from the traditional academy is an important part. Artists active in the domestic art field today have had certain understanding about different art information to different degrees during their studying in academies, when most of them paid more attention to the expression of painting competence. After entering a broader survival space in the society, they adjusted their drawing ways and conceptions in time and coped with the changes in today&#8217; s cultural phenomena and market positively. However, this does not mean there is any progress in art or vision. Previously, in academic educational tradition, people cared more about how to approach to new painting forms, how to learn a new painting pattern from an unknown master&#8217; s works, how to see things from others&#8217; eye, and how to think in others&#8217; way. However, this kind of painting and thinking patterns have been harming the young artists tangibly or intangibly. How many years&#8217; silence and thinking should the young artists go through to destroy and dump this intangible subject awareness! How many people are there who cannot break the hedge of this &#8220;pseudo-art&#8221; even with their whole lifetime!<\/p>\n<p>&nbsp;<\/p>\n<p>Here, there is a fatal problem either in academic education or the survival environment: we have never exposed these young artists to reality or sincerity, nor have we taught them to see life and the world with sincere eyes, or sense the changes of society with a sincere heart. Rather, we leave them to grow in so false an environment that they cannot feel life and reality with their heart or criticize the true, good and beautiful things in the world with their eyes. As for us, we also lose ourselves &#8211; we do not value the art lead by the soul any more but paintings and other arts lead by the market, which has been a common phenomenon today. A part of the artists have even reduced from pseudo &#8211; art to the art of money. There were times that we could not face the masses of works by northeastern artists, which are so helplessly similar in their painting and thinking patterns. At present, entering our workshop, you can still find that the differences between works made by some 20 different artists are hard to tell without a careful look. None of the above problems is what we expect to confront today.<\/p>\n<p>&nbsp;<\/p>\n<p>Most of the young artists of the &#8220;1980s generation&#8221; grow up with this kind of education. Trained in this academic system, they can only accept the alienated art education. Happened to come across the expanded enrollment special in China and the education whose theories are old-fashioned and whose teaching resources are limited to cultivate so many art students, they have hardly any opportunity to experience true university education even though they have attended the university. For this sake, the &#8220;foundation&#8221; of this generation is generally weak (compared with the so-called traditional academic standard). But in another aspect, it has facilitated some others&#8217; free expression without awareness. Through today&#8217; s information, these sensitive young people have contacted the abundant modern western artistic conceptions and learnt how to face globalization and the market. Therefore, the development and guidance of market have almost become the main force driving these &#8220;1980s-generation&#8221; artists forward. Facing the market&#8217; s ardor, they welcome the market and adjust their painting styles and creating paths according to the changes of the market.<\/p>\n<p>Most of the works made by the &#8220;1980s-generation&#8221; northeastern and other artists have many similarities, which are caused by low creativity and lack of true feelings. For example, the influence of Wang Xingwei has been very obvious during a rather long period. He takes a different narrative way &#8211; counter-narrative and the methodological pattern to re-present and separate the relation between forms and contents, and reverse the use of traditionally bad and failing painting ways and the correct ways, offering a unique visual experience. Due to the special cultural pattern and system of individual development, under many circumstances, Wang&#8217; s way and thinking can only suit for himself rather than everyone. However, seen from all perspectives, the problems and advantages of today&#8217; s northeastern artists are coexisting. In today&#8217; s art market in China, northeastern artists are relatively active and potential, with most of them studying oil painting and the rest studying engraving, sculpture, ink and wash painting, new media and animation in sequence. However, when these artists start to create works independently, they have formed a multi-element value orientation. For example, part of the artists start to resort to new and unfamiliar art forms including installations, videos and new media. For the young people, due to the limitation of their education background in the academy, they may have more or less formed the working patterns that weigh techniques while belittle thinking, following the flush of self-illusion of techniques, which has always been criticized by us. However, there are certain 1980s-generation artists who have dumped this illusion and break out of the hedge of the so-called tradition in academic education. While endeavoring to criticize and negate the influence of the traditional academy, they are positively seeking their own patterns and new ideas amidst confusion, trying to seek a true self from different materials and all the uncertainty and explorations with an open attitude. In terms of this perspective, Foucault&#8217; s conclusion may make sense that &#8220;I cannot design myself freely, but have to submit to verbal and nonverbal practices&#8221;. These practices at the first place have provided the possibility for him to be the subject.<\/p>\n<p>&nbsp;<\/p>\n<p>The subjects we are discussing vary in different phases. While the previous subject has been negated, a new subject is rising from messes. In the context of multi-element culture and globalization, it is the choice when people are facing the disorder and frustration of survival as well as power politics and forced globalization. However, we are not certain what will be globalized at present or in the future. Maybe it will follow the saying of &#8220;like for like&#8221;. The relationship between the subject and object discussed today may change to another track in the following time. But the changes are always the necessary reflection of the natural law of art and thinking.<\/p>\n<p>&nbsp;<\/p>\n<p>Regression is both expectation and aspiration, driving us to rethink the problem of vision. It may be an end point; it may be a start point.<\/p>\n<p>&nbsp;<\/p>\n<p>August, 11th, 2013<\/p>\n<p>Written in the Art Gallery of Luxun Academy of Fine Arts<\/p>","protected":false},"excerpt":{"rendered":"<p>\u7b2c85\u671f \u56de\u5f52\u4e8e\u89c6\u89c9\u672c\u8eab\uff082013\u5e74\uff09 \u5b66\u672f\u4e3b\u6301\uff1a\u738b\u6613\u7f61 \u4ed8\u6653\u4e1c \u4e3b\u9898\uff1a\u5b8b\u5143\u5143 \u95eb\u73e9 \u5546\u6210\u7965 \u5f20\u535a\u592b \u803f\u65d6\u65ce  [&hellip;]<\/p>","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[30,31],"class_list":["post-202","post","type-post","status-publish","format-standard","hentry","category-e-magazine","tag-30","tag-vol-85"],"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\/202","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=202"}],"version-history":[{"count":9,"href":"https:\/\/www.meishuwenxian.com\/en\/wp-json\/wp\/v2\/posts\/202\/revisions"}],"predecessor-version":[{"id":4831,"href":"https:\/\/www.meishuwenxian.com\/en\/wp-json\/wp\/v2\/posts\/202\/revisions\/4831"}],"wp:attachment":[{"href":"https:\/\/www.meishuwenxian.com\/en\/wp-json\/wp\/v2\/media?parent=202"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.meishuwenxian.com\/en\/wp-json\/wp\/v2\/categories?post=202"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.meishuwenxian.com\/en\/wp-json\/wp\/v2\/tags?post=202"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}