Contemporary Art Chinese Painting lacks spiritual content

In recent years, some large-scale exhibitions, including the National Art Exhibition in five years, have seen the lineup and the form of the works as a whole. The depth of realistic carving and kung fu, and the visual impact of the precision and fullness of the composition of the screen, are indeed shocking. The works are indeed more extensive and progressive than the predecessors in terms of subject matter and expression. However, if many works actually go through careful reading, it seems that there is still something missing. There is no room for keeping eyes and giving people the space to associate, imagine and think. Under the gorgeous appearance, what is missing is the artistic charm and spiritual connotation of Chinese painting. We know that spiritual connotation is the real power of works and the true value of art for art. The lack of spiritual content in the work is like a person lacking a soul, leaving only one body. Therefore, this is a very serious issue. It is a question that relates to the criteria and values ​​of Chinese painting. It is also a directional issue concerning how the painter creates, and it is related to the issue of how Chinese painting continues to develop.

The phenomenon of "reforming forms and light connotations" in Chinese painting has a long history. Many experts and scholars have discussed this issue. From the end of the 20th century to the present, this problem has been increasingly serious. The reasons are not only the artist's vague understanding of the characteristics of the Chinese painting art, the lack of in-depth understanding of the spiritual realm and the ideological connotation pursued by the Chinese painting, but also the external factors such as social environment, teaching methods, and judging standards.

The spiritual connotation is the core of creation

As part of Chinese culture, Chinese painting is very different from Western art. From the perspective of aesthetic features of works, Western painting focuses on the physical form attributes of aesthetic objects, emphasizing factors such as objectiveness, reproduction, and truth seeking, and pursuing the appearance and stimulation of appearance. The Chinese painting adhering to the most representative of the Chinese cultural tradition of the "Heaven and Man" philosophy aesthetic thought, the creation of great emphasis on the performance of the humanistic spirit, focusing on the integration of the object and the spirit, seeking a subjective and objective view Harmony correspondence, in order to achieve through the art of ambiguity, propaganda, to aesthetically highlight the subject's emotions and philosophical thinking. The artists are convinced that the emotions that people want to express can all find corresponding objects in the universe. Through appropriate artistic expression, they can transform everything into images and give them spiritual content.

Therefore, Chinese painting is not a purpose of depicting nature, but is a kind of cultural act with the purpose of human spiritual expression. The artist grasps the inner essence of the object image, integrates into the thought and emotion, and exerts artistic imagination. It constructs the image through a unique brush and ink language, gives people a broad imagination space, and interprets rich and diverse spiritual connotations. Correspondingly, the pen and ink also constitute the carrier of the works and the carrying spirit. Without good pen and ink language and art forms, people's spiritual ideological connotation is difficult to express. The two are indispensable and complementary.

Several Cases to Strengthen the Performance of Strengthening Spiritual Connotation

How to harmonize nature, life, and art and give the works a rich spiritual connotation. The theorists of all ages have exquisite theories. One of the more influential ones is Shi Tao. His "one-picture" method has made a more philosophical and concrete approach to the unification of materiality and spirituality in painting creation, the unity of law and freedom, the unity, integration, and diversity of inheritance and innovation. The elaboration. Shi Tao believes that when the painter conducts aesthetic thinking in the world, he will experience the vitality of the heavens and the earth, the vitality of the landscape, the aura of flowers, birds and fishes, and the vitality of the painter's own activities, which in turn can be ingenious through various artistic means. Spirit of the spirit of connotation in the image of the image. Shi Tao’s aesthetic system is an inheritance of “harmony between man and nature”. It is not only suitable for the creation of landscape paintings, but also applied to the creation of figure paintings and flower and bird paintings.

For example, the Badashan people of the Qing Dynasty, who were descendants of the Ming Dynasty, inflicted the pain of their dead country on the creation of flowers and birds. Most of the images are leftovers and old trees, dead branches, or bulging birds, white-eyed fish, or dry ponds, standing debris, or standing beasts, flying wings bird. The artist chooses a unique image metaphorically to symbolize life and achieve the realm of simplicity, shape, and spirit. Coupled with the words "the Bada Shanren", which looks like they are crying and laughing, it is even more reminiscent of his state of cry and laughter. The contradictory, indignant and painful inner world is reflected in his works. The modern Qi Baishi is also a philosophical expression in the theme of flowers and birds. Through his profound observation of life, he has given his unique feelings to popular objects such as fruits, vegetables, flowers, birds, worms and fishes, and has formed his own distinctive artistic style. Such as "he is day by day," by the image of two chicks competing for food, expressed the "philosophical implication of today's competition, his daily conversation", giving people a wealth of association and imagination. Therefore, the flower and bird paintings not only describe images through skills and kung-fu, but more importantly realize the creation of a spiritual realm and the expression of philosophy.

For figure paintings, Tibetans who are Tibetans are also drawn. Some people's images do not have the characteristics of Tibetans, let alone their spiritual content. The contemporary figure painter Li Boan, who created “Sunrise”, “The Taihanger”, “The Ink of the World”, as well as the long epic “Out of Bayan Harrah”, are powerful and moving. In the process of creating “Out of Bayan Hara”, he deeply touched the hardships and tenacious character of the farmers and herders on the Qinghai-Tibet Plateau at the end of the last century, and was thrilled at the primitive, instinctual, wild, and wild vitality. Out of the artist's great creativity. The work portrays more than 200 images of Tibetans who are strong, strong, and in various forms. They are upright and magnificent. The distortion of the characters in the works is just right. It not only conforms to the characteristics of the Tibetans, but also artistically expresses the Tibetan people's fear and piety of nature and religion, the vitality of the Chinese nation, and the tenacious national spirit. The history of the vicissitudes of life and the huge spiritual package capacity. The integration of the characters in the works with the natural features of the Tibetan Plateau, the treatment of black and white contrasts, and the strong and mysterious artistic conception make the 100-meter long scrolls not rigid and full of changes and rhythms.

Regarding the spiritual connotation of landscape painting, we will discuss some experiences with our own practice. For decades, the author has consistently adhered to the creation method of "Cloud Methodology and Creation of the Environment" to explore the creation of two series of works, Yunhai Landscape Painting and Space-time Ink Painting. Its purpose is not to paint clouds but to paint clouds, but through a new aesthetic thinking and creation. Ways to expand the artistic expression of more space. In his creation, Cloud's movement charm is used as the main theme of the painting, integrating the elements of expression between heaven and earth for the creation of artistic conception, and integrating the natural objects above and below, depicting various kinds of space-time environments such as the beginning of pioneering floods, the emptiness of heaven and earth, the reflection of sun and moon, and so on. A new style of painting that combines traditional cultural spirit with modern scientific elements and is in harmony with the spirit of the times. It represents a vast and vast universe of macroscopic experiences of the universe and a magnificent and profound artistic life. realm.

Actually, the Chinese painting creations with genuine spiritual connotation are not out of thin air. They must depend on the artist's sincerity and perseverance in art. Because Chinese painting creation only finds a breakthrough in the nature, life and art of the universe, and expands and promotes ink brush language, art form, humanistic spirit, and artistic realm, it can truly create art with new and new connotations. works.

Some factors that cause the lack of spiritual content

Concerns about the current state of Chinese painting, some critics believe that: "Current Chinese painting lacks connotation and is not patience because the artist has no culture and no cultivation." Some people also suggested that "Chinese painting must be clean and return to tradition." The author believes that what the painter lacks is not only culture, but also the lack of life and lack of life experience. Most painters have lived in the steel-concrete city for many years. They don't eat or wear them. They lack the loyalty and loneliness of ancient artists, and they are accompanied by nature. They deeply appreciate the hardships of the people and the joys and sorrows of society. experience. In fact, most of the artists who have achieved success in Chinese history come from the people. Unlike today's artists who are themselves “artists” and are far from the social reality, they have played down the feelings of worrying people, and they lack real feelings about art. How can the creator's own state of mind give his works a rich and profound spiritual connotation?

In addition, to return to traditional Chinese painting, is it a return to the traditional art form, take the stylized brushwork, convergence aesthetic taste, or return to the Chinese culture of the big cultural tradition? This is a key guiding issue. The rich and profound cultural and artistic heritage of outstanding culture is an inexhaustible source. We cannot confine our tradition to the traditional forms of traditional Chinese painting. In fact, many painters have always had some vague ideas about traditional understanding. They think that as long as they are able to produce works on the basis of the traditional renewal process, they are similar in the landscape and flower and bird paintings. Cavity and other phenomena. The value of art is creation. The premise of creation is to have its own independent thinking. The one-sided realism, the sculpting of the paintings, and the eye-catching in the form, and the lack of support for the spiritual connotation deviate from the requirements of the traditional aesthetics and creative rules of Chinese painting. Such creations are bound to lack the vitality of the arts, and it is even more difficult to truly promote the Chinese paintings. Innovation and development.

The teaching method of Chinese painting is also a question worth considering. Since ancient times, Chinese painting has been the main route for learning by the ancients and teachers in Linyi. If we go from the concept of art to the method of expression and from the content to the conception, we will use this whole set of templates as a reference. If we can't get in and out of the past, if we don’t make it out of the past, the works we create will inevitably be similar, lack new ideas, and be lifeless. Chinese painting teaching lacks how to extract the essence from traditional culture, lacks how to go deep into nature, find a breakthrough in life, and lacks guidance on how to open up the creation of the mind. Therefore, some people have learned all their lives in life and cannot understand what is creation. In fact, a profound and profound Chinese cultural tradition, its connotation is both ancient and modern.

In addition, the current social environment with economic efficiency as the center and popularization, popularization, and entertainment as the trend has caused the fate of literary and artistic works to be entirely determined by the market. The works with in-depth and connotative meanings are difficult to be regarded, and they have no great influence, resulting in the development of culture and art in an easy-to-understand direction. Chinese paintings are also affected. Some artists are tempted by money. Using art as a tool for earning money, eager for quick success and quick action, and being opportunistic have become “relaxed” choices for many people. Not many people will endure loneliness and loneliness for true art. Hard, thankless road.

In addition, there are also problems with the standards and mechanisms for judging the current exhibition. The paintings that are full and complicated are very easy to win prizes, and over time they form a tendency to follow the speculation. Its formation is not only related to the current kitsch orientation of consumer culture, but also has a certain relationship with the award mechanism and operation method. Because we have many national artists and thousands of participating works, it is impossible for the judges to read them. The works that really have connotation need to be read carefully, through the phenomenon to see the essence, and through the association and imagination of the image, we can appreciate the spiritual connotation and the depth of its meaning. The visual appreciation of the awards is based on the form of the work. It is difficult to take into account the connotation and depth of the work. Some works with new language and spiritual content are difficult to find by the judges and are often excluded. In addition, there is also a phenomenon in which the painter deliberately criticized the judges' mentality and carefully polished a painting for the sake of redemption. The only winner is the picture, which cannot reflect the artist's overall academic and artistic level. The truly unique personal appearance and innovative artistic creation are often embodied in the entire series of works. Among them, there must also be support for the creative concept and academic theory of the painter system.

The contemporary development of Chinese painting is becoming more and more popular, and "representing light and connotation" is likely to become a trend in the development of Chinese painting. This should attract the attention of the art community. We live in the era of the country and the people and the people. The government’s efforts to carry forward the traditional culture and promote the innovation of culture and art are endless. It indicates that the era of the great rejuvenation of the national culture is coming. The era calls for excellent works and calls for new forms and new connotations of works of art. The lack of spiritual content in Chinese painting should be changed. Every artist needs to make efforts. The National Exhibition is a wind vane, how to highlight the creation of our times and give us a positive guide. This is a question that needs reflection.