East and West | Chen Hui: From “landscape in front of you” to “gully in your heart”, how do Chinese and Western paintings “continue to draw lines”?


Chen Hui: From “the landscape in front of me” to “the gully in my heart”, how do Chinese and Western paintings “continue to draw lines”?China News Service, Beijing, February 6Topic: Chen Hui: From “the landscape in front of us” to “the gully in the heart”, how do Chinese and Western paintings “continue to draw lines”?China News Service reporter Chen Yubo Chinese painting heavy freehand brushwork, western painting heavy realistic;Chinese painting heavy charm, western painting heavy shape;Chinese painting is implicit, introverted and neutral, while Western painting is open, intense and direct…For a long time, whether Chinese painting can draw lessons from western painting and how to “make foreign painting for Chinese” have become a controversial topic in the art circle.What is the essential difference between Chinese painting and western painting?What kind of philosophy does it reflect?How does Chinese painting stick to its “soul” in inheritance and innovation?Tsinghua University Academy of Fine Arts professor, doctoral supervisor Chen Hui recently accepted China News Service “East and West ask” exclusive interview, to interpret this.China News Service: What are the unique features of Chinese painting?What are the essential differences with western painting?Chen Hui: Chinese painting is unique in world art history.Philosophically, any culture is governed by thought.Chinese painting is influenced by Taoism, Confucianism and so on.Taoism emphasizes “learning from nature” and “the unity of nature and man”, and advocates taking nature as a teacher and experiencing inspiration from nature.Ancient Chinese landscape painters used to express the “valleys in the chest” by living, traveling and feeling the twilight of the four seasons. What they painted were feelings and impressions rather than physical and objective landscapes in Western paintings.Confucianism emphasizes that a person’s cultivation, thought thickness and life experience determine the “painting quality”, “painting is like the person”, that is, the style and artistic conception of the painting.These factors lead us to be different from the West in terms of epistemology. Chinese painting is an expression “from the inside out”. It emphasizes the inner cultivation and feeling first, and forms a consciousness through observing nature, and then expresses objects.Chinese painting works.Influenced by the theory of Pythagoras, the Ancient Greek philosopher, “All things are numbered”, western painting emphasizes the scientific nature and accuracy of objects, the golden section and other proportional structures, and the pursuit of rational beauty.Join the Rangers of Connaught by British painter Elizabeth Butler (1846-1933).In terms of specific expression techniques, Chinese painting is different from western painting in five points.The first is perspective. The perspective of Chinese painting is two-dimensional and translational. The West pays attention to focus perspective, near big and far small.Second, color. The color of Western painting pursues reality and objectivity, while the color of Chinese painting is subjective. It is a kind of sensibility extracted from life and higher than life, and then to create a picture.The third is modeling, Chinese painting is based on line modeling, western painting is based on surface modeling, such as forming a boundary line through cold and warm color blocks;Fourth, space. Western painting presents objects in a more three-dimensional way. For example, the painting of characters will scientifically analyze the surface of light, highlights, boundaries between light and shade, projection, etc. Chinese painting is relatively flat and has more free expression in two-dimensional space.Fifth, materials. Western oil paintings are painted on canvas, and oil colors can be covered, modified and added. Chinese paintings are mainly performed on rice paper with ink and brush, which is a “subtraction” and determines success or failure with one stroke.It is very difficult to draw Chinese paintings without being thoroughly tempered.”Galloping Horses (Sending White Stones)” by Xu Beihong.China News Service: You have used ink and wash paintings to depict Venice’s water city, Rome’s old streets and Swiss towns. What kind of charm can Chinese ink and wash paintings add to these Western buildings and landscapes?Chen Hui: Ink painting has many advantages.It is black and white, with a sense of vicissitudes and heaviness of history, which perfectly fits the characteristics of these ancient Western buildings.It is changeable. When showing the ruins of Roman Columns, one can use a rather sad stroke, while when painting Venice Water City, the unique fluidity, meaning and color of Chinese ink painting can give Venice water City a feeling of flowing water on a small bridge in South China, like a lyric poem.Past Glory by Chen Hui.In the performance of the ruins of the Roman column, the use of a more tragic stroke.I provide Chen Hui’s work “Venice Pier”.When painting Venice Watertown, the unique fluidity, meaning and rhyme of water in Chinese ink painting and the change of the five colors of ink can give Venice watertown a feeling of flowing water on a small bridge in South China.In addition, Chinese ink painting is more flexible than western oil painting.Oil painting pays attention to real reproduction, while ink painting can “graft”, mixing pictures of several different Spaces together, and any combination can present a kind of historical crossing.China News Service: You have used the proportion, composition and other visual elements in western painting to create new forms of expression in contemporary Chinese ink painting. How do you think Chinese painting and western painting should learn from each other and complement each other?How does Chinese painting stick to its “soul” in inheritance and innovation?Chen Hui: Compared with western painting, The beauty of Chinese painting lies in its refinement of perception.We often say, “it is not difficult to draw like, but it is difficult to draw with charm and charm.” As Qi Baishi said, “The beauty of painting lies between likeness and dislikeness. If it is too similar, it will be vulgar, and if it is not similar, it will deceive the world.”Chinese painting pays attention to Taoism. “Taoism” refers to individual practice, accumulation and realm. People with different experiences draw different things.Works by Qi Baishi.China News Service reporter Yu Haiyang so, Chinese painting can not lose the characteristics of qi charm, this is its lifeblood.On the basis of adhering to this lifeline, I think western painting can be used for reference by Chinese painting in two aspects.First visual impact, and in 2003 I saw about the metropolitan museum of art in the United States during the Ming and qing dynasties of Chinese paintings and a comparison of western oil painting exhibition, need very close viewing, Chinese painting and western painting in 20 or 30 metres away can catch attention, since that time, I was wondering, screen visual impact can be improved one aspect of Chinese painting.Of course, it has something to do with their origins.Ancient Chinese paintings are often painted on handkerches or fans, which are used for literati to appreciate each other and feel their state of mind, while western paintings are often seen in halls, and oil painting is a very strong language, so Chinese paintings are in a weak position when displayed in public space.The second is light and shadow. Chinese paintings rarely show light and shadow, but in fact, the addition of light can make the picture produce empty inspiration, sense of space and sense of mystery.I tried to add light and shadow in Chinese paintings, actually inspired by The Dutch painter Rembrandt, who was very good at using light in the center, with the sides fading slowly.This is also very similar to a stage play. As soon as the main actors come out, there must be some light tracing, while others gradually weaken, so that the picture can have a primary and secondary relationship, hierarchy and rhythm.Chinese Culture by Chen Hui.The work attempts to add light and shadow to Chinese painting.China News Service reporter: You are the fourth generation of Chinese painting painters who advocate the integration of Chinese and western painting after Pang Xunqin, Wu Guanzhong, Yuan Yunfu, Du Dakai, Liu Jude and so on. What kind of course has the integration of Chinese and Western painting experienced in The Chinese art circle?Chen Hui: After the founding of new China, The Chinese art circle basically belongs to “Xu Jiang system” (Xu Beihong and Jiang Zhaohe), which advocates realism, so Pang Xunqin’s claim on the integration of Chinese and Western is not widely adopted at that time, which belongs to “another way”.He hopes to combine traditional Chinese culture and art with modern western art.But at that time, Western art was relatively excluded, and it was not until the “85 Trend” (an art trend that emerged in mainland China in the mid-1980s) that western art slowly came in.Wu guanzhong, Yuan Yunfu, Du Dakai, Liu Jude and others have always uphold the 庞薰琹 the creation of artistic thinking of the system, including the proposed by wu guanzhong “nationalization of oil painting, Chinese painting modernization” and “the kite line continuously” theory (artists and people cannot break line, traditional and modern can’t break line, east and west cannot break, sketch and creation can’t break line),It is also an important support for our fusion creation.Fortunately, they did not give up and did not doubt themselves. Today, the road of integration between China and the West is very successful.In the future, the exchanges between China and the West will be more extensive, and there will be more and more Western artists who paint ink and wash paintings. If There are more masters like Wu Guanzhong in China, the influence of Chinese painting in the world will be greater and greater.Night in the City by Wu Guanzhong, a night scene of Hong Kong.China News Service: You once said, “Chinese contemporary ink painting should have a universal language.”How to understand this sentence?Chen Hui: Chinese contemporary ink painting should have a universal language, first of all, it should have the connotation of Chinese culture.What an artist paints must first move himself before it can move the audience.Artists live in this land, only with a local complex, the painting will be engraved on my heart.At the same time, Chinese painting in this way to express rhyme to retain, which is its advantage to the world.In the big garden of world art, each nation has its own characteristics, and Chinese painting should maintain its uniqueness.Visitors look at an exhibition of the Grand Canal in the National Museum of China.Second, painting, like music and dance, is a world language that can move the audience without translation.Whether it’s poetic beauty or soul-stirring beauty that reflects suffering, an artist’s character and experience define his or her unique style. Just stay true to who you are.Thirdly, the work must be contemporary.The works should bear the lifestyle, living conditions and common concerns of contemporary people, such as social problems, environmental problems, urban life, as well as China’s well-off life and the change of farmers’ living conditions, etc., which can be expressed in the special context of Chinese painting.(End) Introduction of interviewees: Chen Hui, second-level professor and doctoral supervisor of School of Fine Arts, Tsinghua University, expert of national Professional degree Evaluation of the Ministry of Education, deputy director of Wu Guanzhong Art Research Center, etc.Representative works are “Chinese culture”, “Southern Anhui Wonderland wonderland wonderland”, “Shichahai Impression”, etc., the works are collected by the National Museum of China, The National Art Museum of China and other relevant units.His artistic resume, works and academic views were included in the national key literature “History of Chinese Modern Art”.He has published many academic monographs and personal collections of paintings.

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