Yang Xiaoyang Capriccio exhibition by freehand is a kind of spirit www.tc165.cn

Yang Xiaoyang: Capriccio exhibition by freehand is a kind of spirit of Shao Dazhen Mr. Yang Xiaoyang will hold his solo exhibition in Beijing, the name of the exhibition is simple: "from realism to impressionism". Advocate and freehand brushwork, freehand, is among the Yang Xiaoyang has consistently advocated painting after. From the exhibits of the content, he is from the realistic way through, with the exhibition name "from" and "to" the word seems to reflect his artistic experience. During the period of the students, Yang Xiaoyang’s Chinese painting education started from the sketch and developed the realistic modeling ability. His works in the period of his students, including sketch and creation, especially the style and appearance of his graduation works, should belong to the category of realism, but they have the factors of freehand brushwork, or are influenced by the traditional impressionistic art. His later creation, and gradually get rid of the realistic modeling instead of freehand brushwork, but strictly speaking, did not completely abandon the realistic modeling. Looking at his previous works, the difference is obvious, but there are still internal relations. This is a very interesting, but also very worthy of our thinking and research issues. Realistic and freehand brushwork in contemporary art history, Chinese expression is often two contrary concepts, two different methods. The general explanation is that the former is more meticulous brushwork description of objective images of real, not for the exquisite shape, but with subtle brush scenery expression, to express the feelings of the author and a charm. However, this interpretation is more emphasis on the painting techniques, and the level of freehand brushwork, more profound spiritual content. This is the main task of the academic, not repeat them here. China’s traditional painting from the Song Dynasty, vigorously promote freehand brushwork, to the yuan and Ming and Qing Dynasties, freehand fashion, but also the peak of literati painting. However, freehand brushwork and freehand brushwork have a long history, and there is a clear expression in the spring and Autumn period and the Warring States period. Freehand painting, is actually highly conscious of the painting language from the perspective of art history evolution, there China literati paintings like the European Impressionist abandon the classical painting rule bound, to use painting language and not on the theme to convey thoughts and feelings. Just prior to the Impressionist paintings for hundreds of years, theoretical origin can be traced back to the pre Qin Taoism theory especially the concept of art, and the impressionist painting theory does not have such a profound philosophical and aesthetic foundation, it is not possible as the literati painting as a lasting influence. The concept of Chinese freehand painting methods and performance of the Wei and Jin dynasties have been seen in the theory of writing, to write to God, vivid, vivid freehand brushwork is the basis of theory, the Song Dynasty advocated freehand ink, aims to emphasize to convey the literati self-cultivation and spiritconnotation, against moliu painting simple kitsch. In their view, the artist focuses on the description of concrete realistic images, not the language of ink on the important position, the picture gives people a glance, not imagination, lack of language expression means and taste. Everything in the world has two sides, and the theory and practice of painting is no exception. Not for the shape of literati painting has a limit, Yuan Ming and the early Qing dynasty literati painter knows this. The Yuan Dynasty Ni Yunlin leisurely pen.相关的主题文章: