Saying, eyes are the Windows of the soul. Over the years, I think Mr CHAN drunk “window” is not only bright, and there was an impact in the quality of “photons” transmission patrons. Despite the familiar tends to erase sensory impressions of edges and corners, but it has done nothing to weaken with drunk I from the taste of this special in my eyes. But is familiar with the reason, whenever I encounter the “sharp” “penetrating” a class of concepts of time, many will think of his special attention.
Chan usually drunk very easy-going and no scholar-reserve. Now and then his “quiet” one “,” “high-level language” joke, often from the aisles. Nevertheless, I still dare not make improper mental inquire to alleviate the elderly eye contains. However, I believe, that is his superior natural expression of the Endowment, talented and energetic. Further in-depth exposure to a resounding academic insights and unique artistic style, I am confident that given Chen Zui look to “sharp” with “penetrating” after all, was he rich, nourishing and life’s experience forged cultural vision.
A family of scholars, drunk when Chen baodu calligraphic, comfort the painting and father burdened with pressing military duties of the spirit of many of them shot ride subtle, can be described as the “six arts”. When young, in following the dedication of the University teacher, assiduously study painting art. But soon catch up with the chaos of the cultural revolution, resulting in the “delegation of labour” and “treatment”, bottom heavy living “textbook” eating read it again. In 1978, fate favored Chen drunk with distinction in the competition, first postgraduate enrollment kaozhong recovery, becoming famous aesthetic of Wang zhaowen’s indoor disciples. Since then, Chen drunk duck, academic and art hand, Hui-glorious Concorde all the way, direct medical Platypleura kaempferi Shao? Lt; BR> from “I want to be President” child’s hope, “cannot stay in grain in name only” youth ambition, Chen laid earlier cultural vision of drunk high orientation. Subsequent theoretical study, especially for the “form” and “nude art” in-depth exploration, then give a clearer rational factors to its cultural vision. Briefly about their academic pursuits, to understand Chen Zui painting is necessary for the expression of art.
Psychoanalysis of Freud’s libido revealed, for the development of philosophy of culture of the century provides an important perspective. In Freud’s view, civilizations in order to conquer the human instinct for lasting foundation. Human needs instinct of freedom to meet and is incompatible with civilized society, only restrained and delay this meeting in order to guarantee the progress of civilization. Therefore, the history of human development, but people were repressed history. In this history, were provided for the existence of a rational, lust, fantasy, passion and hope-rich composition of human nature, will be removed from the rational reality, taboo or psychology of exile into civilization. How liberating sensibility of the rich world, including the passion, to “achieve comprehensive reversion of human nature”, that is, to criticize and reconstruction exploration of cultural philosophy of civilization as its mission themes of oppression.
Overall, the academic thinking of Zui Chen, belonging to the cultural and philosophical way. Replying to his series of scholarly writings, especially on the effects of deep and wide of the nude art, exploring the themes of cultural philosophy–he expressed as “culture beyond”, on paper, is permeated.
However, Chen Zui academic lies not in he contributed to the independent consideration of helmeted a world-wide trend of cultural philosophy, but he is based on the reality of Chinese culture, the “culture beyond” this topic, straight-oriented reality principle of tight closure through the restricted area-of-consciousness and nude art. This in itself has a strong significance, then published the nudity on the art of the nuclear explosion effects, is a proof. More important is that Chen Zui adhering to the traditional humanistic spirit of Chinese culture, problems linked to art and life, academic thought of himself as well as artistic creation has profound practical value in life. Sharp bold academic thinking of the front, made Chen Zui believe human aesthetic feeling of beauty is the man on his, but special emphasis on the aesthetic feelings of physical and chemical practice, creation and appreciation of the nude art has always been closely associated with the unconscious desire and consciousness of the people. Precisely because it will always remain with reality over ethics both conflicting and mutually complement the delicate relationship, nude art has irreplaceable art or real human culture in General, special and eternal cultural utilitarianism. To this, Chen Zui expressed as “sublimation of desire”, “purification of the mind, edifying”, or “life free of the complex”. As he pointed out: “nude art, is the materialization of people on their own sense of aesthetic, it is the reality of human culture beyond, and rise to more a levels, I do not know how much life complex, here free! “(The naked spirit of recourse)
It is clear that Chen Zui is not, as some Western scholars did, to subvert the reality of extreme reversion to find humanity’s way out, but the ability to know the reality of life can have “higher level”. In his view, this is sufficient to their hopes of higher ideals of mankind, from “the sublimation of desire” that is “a culture beyond” pose, it’s real form is art. Specific to human perceptual world lust or sexual awareness, that is nude art. Chen Zui academic perspective, art is not only aesthetic, there is a cultural function, is resorting to the aesthetic of the solution to the problem of life. This is of course a profound opinion.
Reflection on cultural philosophy of art, as the implication deeply rational components, constitutes a drunken Chen cultural vision of the principal. With this vision, he not only “culture beyond” written in his book on the subject of, and it shows in my own picture. In a certain sense, drunk Chen’s painting is its “on the artistry of the nude” to continue and expand, is its validation on the cultural function of art, and play is their pursuit of “sublimation of desire” or “life free of the complex” self practice. He was “distressed when creating” a statement summarizing his work, his painting of value orientation, self-awareness and distinct.
In my view, Chen drunk since the 80 ‘s creation of a series of works are the “thematic”, that is, pursuit of “culture beyond the”. However, the concept materialized thought and general theme of the painting to purport of much different, Chen Zui painting “thematic” not to concentrate on performance of a precise concept, but the performance itself or the entire drawing itself, as “culture beyond the” practice of implementation and the implementation of the theme. For him, painting and formalization of the screen, not the means but the purpose itself. As his frank confession: “some of my works, most of them don’t go to campaign and exhibition draws, such as themes, theme, ‘ General project ‘ is not serious criticism. …… Depression more often or for suspension. “(The agony of creation)
The spirit of deep emotion and meaning “thematic” pursuit, his works include oil paintings and traditional Chinese painting, although there are figures of the plot, but boils down to a Center. Just because everything on screen, not the concept, but or attached, or pain or joy emotion of Tolo Harbour, is the painter or subconscious mind present straight of agitation and tangled up in the emotional energy. This pursuit of painting, interpretation or events than on the concept of narrative, closer to the painting’s characteristics, and have higher requirements. In the spiritual world of the suspension, special technical issues need to be addressed are: how emotional experience in mobile and static structures found in the form of a combination of the best point. Drunk in this area for in-depth exploration of Chen, and quite the experience. His representative, the space that our (oil painting, 1982) and of the melt (paintings 1982), initially the screen there is a better representation of the natural spectacle of the memory, however the actual image that is rendered “landscape painting” effect, did give the painter deeply “inarticulate”. After several modifications, is still not satisfied. Later, in wondering progressively nature of original image in abstract, illusion, “until you think to find time to composition and transparent point of the heart, will draw it out with Yiqi he Cheng” (the agony of creation), and makes this ideal current effect. He found that “transparent”, psychological forms of time and space is the maximum degree of agreement. For this successful exploration, most 80 ‘s creation of his paintings, more abstract approach-impression or performance type, methods. It is clear that Chen drunk on the artistic choices, is by no means the only manifestations, with the “sublimation” or “purification”, “free” paintings aim to achieve as a criterion.
Chen Zui values of famous paintings, in his pursuit of the creation of self-ideal, pure and quite willing to send manual configuration of logical consistency. In this respect he is very intelligent, “consciousness” or even unknowingly Shun-out with the automatic disposition incidental. Of the Fire Festival (oil painting, 1985), a painting, very rich sources of manipulation, it combines the realism of modeling, expressionistic brushwork and the idea of the colors of Impressionism and symbolism and meaning. On screen, painter but I disposal practices of the various factions, let them carry out their duties, they can, and eventually unified in, satisfaction in “I” in “culture beyond”. As far as the writing techniques, best drunk personality is the recollecting of the works of Chen (oil painting, 1986). According to artist’s own introduction, in the initial draft, he drew a pair of abstract looming hand. However, painted art, more out of hand; painted painted again and more hand sth When work is completed, the lines interlaced picture had emerged consisting of five hands. “Automatic” proliferation, can’t help but let artists heart health doubts. But the marvellous is, intentionally or unintentionally to picture, there is a very perfect results. Pride of unexpected results and a better experience, his drive away right when everything is subconscious, not Dr raise one question after another. Now, Chen Zui this phenomena by chance in the creative process and has an inevitable. Solve life problems to resort to the aesthetic theory of painting, Chen will make drunk “drunk” in the painting of the deployment process so that brush unknowingly with the mood of mobile roaming, in canvas leaving breakthrough rational “zoning” intelligent track. Why the signs to a hand, it can only say that artists jiyu many had not the heart can’t make relates to “hand” of complex life. On this point, I’m still afraid to inquire why his psychological secrets. However, I believe, drunk for the Chen art, really into the “I forget” realm, Chen drunk, drunk.
For drawing purposes, is more necessary than to art as a means of better achieve this dahua realm. Even so, taken to oil painting, the difficulty is still very large. This non-artist cannot and, is the oil painting “nature” limit. Oil painting on the substantial requirements of the physical painting time, looks it was “realistic” exists, it is not good at volatile psychological time accepted. Chen drunk at the time of the distress in the creation of the article, yourself face to face but not the temple combined with deep worry-he wanted a melancholy Sala canvas, canvas, said: “Sir, you’ll have to slowly. “This feeling real and really, there is no room for negotiation. Artist rising “wrote” mind, between nature and far from.
Maybe this is one reason why Chen Zui to input traditional Chinese painting in the 90 ‘s more creative. Have a thorough knowledge of both Western and traditional Chinese medicine Chen Zui, paintings before painting, just in this period, his painting of “Freehand” understanding of the character has been updated. By reason of the ever-sharpening cultural vision, his insights into the Freehand brushwork in traditional Chinese painting and “culture beyond” understanding of the topic. This understanding, in the “sublimation” or “purification”, “liberation” of social practices in particular self actualisation, undoubtedly of great value. So Chen Zui is pleased, go all out, producing a large number of both excellent paintings in aesthetic significance and practical significance of life.
This virtually thousands of women to all manner of motif painting works, embodies the academic perspective of Chen Zui own interpretation of the beauty of women, human propulsion, also reflect the rich culture of his own rally in painting into the process. To the Nu Wa series (1995) for the territories, his before and after the creation of traditional Chinese painting can be divided into two stages.
Prior to the 1995 creation of traditional Chinese painting, their overall pattern and the tendency to a certain extent continued the more general XING on his performance in the oil painting, “drunk-Chen oil painting the wind” by strong fade to blow across this stage picture. It expresses a relative to the plot, careful, pursuit of picture composition and decorative nature; methods tend to blend Western, but using more modern painting of modeling tools, such as abstraction, decomposition, refactoring, etc; style changes between work, frequent and jig, diverse and different interest. Obviously, the artist is trying to explore all possibilities. Exploration of this series, giving the home town of moon (1992), the long hate songs (1989), of the two springs (1989) of the nostalgia (1990), the law on who dyeing cream Lin (1991), the shade of the Banyan ancient Cross (1993) and other works, in shuyi style and unique ambience. Aesthetic tastes of the artist’s exuberant creative passion and extensive, profound art Foundation and superior ability to change, are these colorful description of the picture.
Compared with the late author, this work focuses on performance in the stage of a “real” women of the United States. As a carrier of feminine beauty, woman in the picture didn’t come without a trace to shadow of the fairy, they have this or that “background” context is clear and logical. For example, bathing in hot springs Tang chaise longue (the long hate song 1898), the broken walls of Chi chu to ruin her modern (the successor · 1993), there are lingering or coconut trees or mask to banana leaves rural girl (deep in the coconut trees, 1991; of the drizzle rustling · 1992), and so on. It goes without saying that embedded the “background” of female beauty, making aesthetic with a “reasonableness”.
The series launched the Nu Wa, open the creation of a more in-depth stage. The family of a liquidation, “myth” of support, the women from the “background” in the “abstract”, becoming obscured several barrier-free and “naked” beauty. Despite the nature of the Nu Wa still have some kind of transition, it comes from, for example, the myth, but the clue has been sorted out, raising the female beauty into the lives of “higher level” number already knows. “Myth” soon out of myth, showing its “ideal” nature; “abstract” do not have to be committed to the abstract methods or abstract form, it is the precise meaning of “ideal”. So the ensue of a naked woman, despite the “reality” of perceptual features and charm, without available to try to get the heart of the “background”. On female beauty in these later images of nudity, sublimation, clean no fetters and false embellish “naked” of pure beauty. “Idealistic” women in the us from reality “beyond”, it gives aesthetics to more “nature” aesthetic objects also broke the “feminist” narrow-minded, soothe charming goddess Guanyin or of human perceptual world.
Many distressed problem solving, creativity of the artist are further liberated. It with the enthusiasm of artists excited Chung, thoughts or even the original desire of depression, with the painter into mental schemas wenqi heshi, full accomplishment of the book, art, culture, speed surge out of Xie juanmian. Traces of the site, is a superb realm. For creators, and it contains a write rapidly such as journey’s fast smooth aesthetic experience; to enjoy, it transmitted a contemplation of God refreshing aesthetic comfort.
Chen commonly drunk in the past the screen means that the “segments”, in this period on the creation of development for the Chinese style “lines”. It has configuration elements that are not simple, and has expanded, the rise of overall modeling approach. “Lines” of time, to the vagaries of psychological time shows the unlimited flexibility to adapt. Chen wanted to talk to all the feelings of a drunk, got answers. Drawing paper: “Sir, you look! ”
He early acquired a artists ‘ rapid cursive writing good hand Gong, finally had a place. He cited the book into painting, or written natural wild, making love or fine enthusiasm, or simple seasoned, or naive simple screen image; his book downloads, fade out, or taste yanier rise or philosophy, or qianquan affection for art images outside. Map of the empty building (1997) line ramble hook a woman sitting meditation, vegan blank between long vertical sites to “wait” time of psychological experience, wealth of space imagery and never wake, were evident. Map of the free lie (1998) to unilateral right poems cursive, and the flowers down a slant to the left of a lazy Crouching woman, constitutes a shulang the open screen. Poems for a half point shenque of the Butterfly: “busy to lazy lie love flowers, love song poetry is assigned, but weary feeling weary. To sleep sleepless mind, diffuse twist fragrance scold red. “Poetic and oblique branches hanging flowers, admiring the sensory impression, formed a dancing-like motion, as if flying everywhere busy thinking Ogata. If said in he of West window night rain under (1996), and Mu Springs figure under (1997), and black hair has rhyme under (1997) in the also has more obvious of Western modeling, and composition even constitute components words, that to has chasing dream under (1998), and in shallow water no waves under (1999) and early taste Durian under (1999), is is in screen Shang abandon writing “artists ‘ rapid cursive writing” has. Then back to 2000, in the window who called Gillian, the jinfeng and the fragrance drifted hate is also in the autumn, was free to reverse the playing with beauty, won the freedom of weightlessness in space-like and elegant.
Painter of “sublimation of desire, realize on screen performance on screen. Artist the ideal of all, to form, in books and prose, comprehensive access to the picture, obtained in the process of painting. I think such a realm, is the aesthetic, but more is the practice of life.
Focus on the art of practical value in life, the pursuit of “culture beyond the” art of purifying language is necessary. Because, in real life, this “higher level”, can only rely on out of fetters, brush up reality dust form of art, can really achieve. This means that the art of appreciation of the value of life, fundamentally depends on the formalization of it.
By and, plastic art language of temper, is the most basic and most important work of painting. Zui Chen has always attached importance to this aspect of cultivation, painting characteristics and beauty in the form of law in-depth understanding. As early as during University, his wit and hard work, won the essence be taught of Mr Zhou Benyi, has a good grasp on Western language. His gouache landscape painting in the 60 ‘s by a group, such as the water village the morning (1963), of the Taihu Lake sunset (1963), of the set sail tomorrow (1965) and of the ancient tunes (1965), in composition, with the pen, color mixing and control as a whole, shows superior accomplishment. Also, he uses subjective emotional expression of form factors, are outstanding. His group of interesting art Impressionism, Expressionism, this surely is a more avant-garde at the time, even today are still without losing the novelty. The water early morning painting especially strong sense of form. Painter to light Plaza flexible technique, long and short and delicate way to capture the subtle color changes in the blue and purple halftones; converting flow of cold and warm, crisp color and, mutatis mutandis, the neutral gray contour fluctuation balanced grasp of, and proper treatment, make the entire screen a melts your heart all into elegant and cool lookin “thin”. This both painting and decorative delicate sense of form, not only commonly seen in his earlier works including the cultural revolution period, and continuing to the recent oil paintings, and even recent painting. The space, we, the looking back, and the circle, denotation for the expansion of political rights, the melt by representatives such as oil painting, is in this form on the basis of the new propulsion. It is worth emphasizing is that these works as well as the blessing of, or in a shape, line, color segmentation to build screen space, and have outstanding performance. Flying combine in a balanced trend, see specially interesting effects of the changes in the uniform, grasping the law of composition and spatial form shows Chen drunk character depth.
Chen Zui has a good sense of color and the color of accomplishment. His oil painting beautiful rich color, delicate, elegant, and species migration potential is quite elegant stroke effect, looks decorative taste for peace of both rhythm and without losing the sense of thick oil painting to focus on. He didn’t mind depicted lighting effects, but just enough color contrast and flexibility for stroke treatment, making it picture often gives a “translucent” crisp feeling.
On the features, most cannot be ignored is drunk on the painting of Chen “colour”. I feel like the treasure map of autumn and the dream (1998) of the delightful serenity of seclusion, as “colour”, is drunk in the Chan character in traditional Chinese painting color made great achievements. There is no doubt that this achievement thanks to his colour of Western culture, also benefited from his exploration in painting under the terms of the deal. This “colour”, feels very thick, round and full and graceful, one implication of the jade, as if with a female skin elastic and body temperature. Get close to look at, it is moderate but paved and of color slightly cold. Secrets in addition to the color just right outside of the relationship between the proportion of them, probably permeability of some minerals and pigments and flower blue calm in both fusion and separation of subtle changes of the State concerned. In addition, rich way with a pen, also has a relationship.
As some critics assessment, Chen is a drunk artist-scholars, and also a scholar-painters. Such an evaluation to see the unity of his career. In my opinion, cause both unified Chen Zui, is he a rich cast of culture perspective. This so that he can “split” in-depth academic and art; “combined” combination of academic painting, painting for the scientific principle of. Because of this, Chen never drunk between theorists and artists feel “fish” and “bear paw” can’t have barriers, but think it is one of two sides. Not intervals: theory and practice, theory and art, thought and creation fun precisely constitutes a drunken Chen academic realm and unique in the world of art.
Aug 042011