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Date of Birth: 1977

Zhang Qingyuan

(Art manager, contemporary artist, art critic)

Name: Zhang Qingyuan

Gender: Female

Naturalistic Thinking of Art

In ancient times, art experienced worship of gods, the reappearance of nature, the expression of subjective emotions, and the critique of industrial society. Into the 21st century, the rapid development of science and technology, while all human beings can better transform and use nature, it has also brought negative negative effects on itself. Western ecologists, social theorists, and philosophers have fully recognized this problem, and have reflected on the harm caused by the advancement of science and technology to humans and nature from all angles. Art also began to reflect on and rethink nature and human society. The current human aesthetics has also reached a period of return after the vicissitudes of life. It cannot be confined to small waves of personnel affairs. 'Art' has assumed the responsibility of saving nature and society. This is also the biggest issue facing artists today. While thinking about the regeneration of injured earth, create new art from the perspectives of religion, philosophy, aesthetics, mathematics, psychology, and sociology to express the universal value of human society today. .

The great spirit is always peaceful. For the artist Yu Ze, he is full of intellectual cultivation and strong personality. He has been searching for his own way of redemption in the pursuit of art, which is also the highest spirit of Chinese art-Taoism naturally, using his own The way of art realizes thinking about nature, joining nature and releasing the natural free spirit, maintaining the purity of spirit, and restoring the fatigue of life. His works contain intelligent rationalist philosophical reflections and epiphanies. They are also full of romantic compassion for nature. The smooth and elegant painting forms are full of traditional aesthetics and sadness, bringing sentimentality to nature to humanity. In the care of life. In his work, all thoughtfulness, all human conscious intentions enter nature through meditation. Bring the spiritual aura and the freedom of life into a beautiful infinity, return to nature, return to the resting place of that soul, and return to the inner, pure, essential world. "Only the forms created by nature to man can give the world a new meaning"-Rob Grier. Nature and time, pure texture, beautiful imagination and talented talents are integrated into one's work. A modern man uses the spirit of his "vegan approach" to art for art, and "Luo Tiandi has everything in his chest" Opening up the realm in the works, expressing spirituality, providing new artistic philosophy and sincere and noble natural thinking for the future world.

Contemporary ink painting is the art of philosophy

I. reflection from history

Since the 18th century, humans have begun to enter the era of industrialized society. Due to the huge changes in the technological revolution in European countries, a major leap has been made from manual labor to power machine production. Subsequently, it promoted the economic development of the entire European continent, completely changed the traditional mode of production, and at the same time promoted the technological revolution and economic development of the United States, Russia, Germany, and Italy, opened the entire European and American industrialization modernization process, and made the capitalist world system preliminary. form. The development of science and technology will inevitably lead to the rapid development of productive forces, which will also have a significant and profound impact on social politics, economy, culture, art, and education. The introduction of art into national education is the national consensus of European and American powers. It is a reflection of the vitality and cultural thickness of a country and represents the face and personality of a large country. History tells us that truth is not "discovered" but "made". Whoever has the right to speak can create and rewrite history.

For example, the United Kingdom. Britain was the first country to experience the Industrial Revolution, but it has become the birthplace of the arts and crafts movement. The arts and crafts movement has blossomed a unique flower of genius in this country, which means that in the 20th century, Britain has become the center of new international design ideas. In addition to organizing their own community exhibitions, the outstanding British arts and crafts designers have also made another important contribution to the development of design. They have written a lot of texts about their design ideas and methods, leaving a lot of articles and books. It has always had a great impact internationally.

The reason why France, once a world art center, not only said that its power was strong, but also that its nation was recognized by most Europeans to be at the forefront of civilization in the 17th century. They carried forward the learned knowledge of the Italian Renaissance. Produced a group of painters represented by Nicholas Poussin and Claude Lorrain. Their king Louis XIV knew very well during his administration that France's dominance in Europe required more than a huge army. Even if this country was already the richest or most powerful sovereign country, it still needed a thriving cultural life. Greatly enhance its international reputation. Therefore, at the inaugural meeting of the Paris Academy of Fine Arts, Louis XIV ambitiously claimed: "France wants to rule the world with art!" Traditional classic art is an art card played by the French.

Looking at Eastern Europe, we have been studying Russian painting since the liberation. In the history of the development of Russian art, critical realism is the most brilliant. In focusing on reality and extensive exchanges with Europe, its subject matter, genre, style and methods Diversity and originality occupies an important position in the world art scene. It paralleled the French literature and art at the time, and each leader was commendable. Each of them introduced world-class masters, forming a brilliant pearl in the history of literature and art. Russian literary and artistic creation at this stage has become one of the focuses of people's research for more than a century.

The United States, which became the world's number one power after the Second World War, from the abstract expressionism to pop art in art, reflects the uniqueness of American art and thus forms the so-called American character in art. The United States and the strength of the nation's society, using economic development, cultural policy, and artistic inputs as engines to promote American abstract expressionism and pop art, have in turn affected the entire Western painting world, and even guided the entire world for nearly a century. The trend of modern art. This is an American art card that reflects his own value.

For our nearest neighbor, Japan, in the 1960s and 1970s, the economic recovery was strong, and gradually dominated in Asia and also played its own art card. The Japanese are more pure in promoting oriental aesthetics. They can explore the true meaning of oriental aesthetics no matter in art, design, animation, music, film and television. The Japanese government made it clear early on that it is necessary to transform from an economic power to a cultural export power! With this, a series of cultural industry development strategies have been formulated. In order to implement these strategies, the Japanese government has successively introduced a series of supporting policies, and identified the animation and cultural industry as an important pillar industry of the country. It actively promotes the development of the cultural industry by promoting industrialized production, establishing a cultural product industrial chain, and expanding cultural product exports. .

Looking back at China, after the reform and opening up, our country s GDP has gradually grown, and it has caught up with Japan and European countries to become the world s second largest economy. However, our long cultural traditions and civilizations have undergone "May 4th Reform" and "Cultural Revolution Subversion". At present, all our literary and artistic creations, regardless of concept, form, language, and media, clearly reflect a collective modern consciousness and the West. The influence of modernism; then, in the face of the erosion and integration of the globalization wave, the uniqueness of local culture is gradually losing, how to inherit traditional culture in contemporary times, and how contemporary culture embodies original characteristics. We must put forward our own cultural position and attitude to establish To establish a clear academic orientation; and to build the contemporary Chinese aesthetic concept and transform it into national cohesion; to display the characteristics of Chinese culture in a global art context, and to have an important impact on the international community at an academic level. In the next 10 or 20 years, China is really strong, so what art card should we play? It is undoubtedly ink, and it must be modern and contemporary ink.

Second, the inspiration of art history

As mentioned above, by studying the history of art, we can find more that the emergence of any genre must be related to its mother culture. For example, the Japanese sect is not developed on the basis of Western art, but in Zen With the continuation of culture, the "materialism" emphasizes respect for nature, attaches importance to the existence of nature, promotes the interdependence of consciousness and existence, and emphasizes the naturalness and directness of the artist's subjective experience; in form, It is to connect raw materials with objects in the natural world in a certain way, so that they reflect the essential state of nature without any care, and thus avoid artificial definition. This is precisely the absorption of the philosophical elements of Zen: Zen does not rely on anything rational and conceptual, but only intuition to experience the logic of an inheritance relationship of life. At the same time, art encompasses the cultural spirit. Japanese "materialism" art contains the traditional Zen spirit of Japan: the mind of Zen is to break all artificial forms and truly grasp the essence behind it. It is this kind of mind that nurtures the Japanese to keep the earth in mind, to be close to nature, and to constantly taste the simplicity without any carving.

Secondly, from the perspective of the history of Western art, we can find that the development of art in the West over the past 200 years is also gradually drawing on the eastern art elements and artistic connotations, which has been advanced by Western art historians. They are generally recognized. The re-creation history of western culture has not been interrupted. In this long cultural reproduction process, western culture has also merged with world culture. Then, are there any theories and spirits in our Chinese culture that can be inherited and explored by the West, and can we find out the essence of those that can be inherited and absorbed by the current Chinese artists from the spirit of traditional Chinese Confucianism and Buddhism? Can it be continuously re-created in the derivation of traditional culture? Without creation, how can traditional culture be derived? Therefore, the rise of culture and art in a country is not to copy history or retro, culture that is reflected in the spiritual level of people is the most important. Therefore, the spirit cannot be ignored only in the form. At the same time, since the May 4th Movement, our culture and arts area has been continuously learning the West, but we still only learn form rather than spirit. If the culture and art of a country do not reflect the cultural characteristics and spiritual values of the nation itself, neither can it resonate with the people, nor can it be recognized internationally. We learn from others just to show others.

Comparative Thinking of Eastern and Western Philosophy

In China, the traditional way of thinking is integrated monism, and dualism is essentially a western way of thinking, but with the emergence of negativeness in science and industrial society, and human beings' excessive arrogance and great damage to nature, mining is for humanity itself. Bringing harm, both Chinese and Western philosophies have begun to chant the meaning of China's traditional way of thinking about heaven and man (the West calls it subject-object unity).

From the perspective of our own philosophical spirit, human beings and nature live in harmony, achieve unity between heaven and man, and enter a state of unity of subject and object. In China's Taoist theoretical system, this philosophical and logical relationship has already been completed. The highest spirit of Chinese art is the spirit of "Tao". This spirit sweeps the real life to achieve the ideal state of life, and pursues the realm of life with self-cultivation. The work used is the cultivation of a great artist and the spirit of art today. For example, in "Zhuangzi. Bing Ding Jie Niu", the Tao pursued by Zhuang Zi reflects a kind of coincidence between Tao and artistic spirit. First, the whole cow is not seen, so the opposition between him and the cow is eliminated, that is, the mind and the The opposition of things is resolved. Secondly, due to his "encounter with God but not with sight, official knowledge and God's desire to do", the distance between his hand and heart was eliminated, and the restriction of technology on the heart was eliminated. So his solution to the bull became his unbounded spiritual game, and his spirit thus gained a sense of freedom and fulfillment from the liberation of technology; this is exactly an example of Zhuangzi's implementation of Tao over his spirit. It is the artistic effect achieved by technology, the spirit of art purified from the concept of technology, and this spirit is more suitable for modern art. Therefore, when we have an epiphany for the life experience of Dao, this is the spirit of art completely, and it has a profound impact on the development of Chinese art without knowing it.

In the process of exploration of modern western aesthetics, they also searched for the basis of how beauty and art can be established from the root of the universe of life, and what they have grasped from this is only "one", "xuan" and "nothing". For example, in Xie Lin's "Philosophy of Art", the reason for the existence of different phases can be attributed to the exhibition phase (POTENZ). There are three exhibition phases, "the impulse that is actually formed", "the impulse to internalize ideas", and The "different" is the third exhibition that puts the world and everything into "one" and "nothing", and can provide the foundation for art and beauty. Many western philosophers, when studying the history and roots of the establishment of art and beauty, often appear to have a position that is similar to Zhuangzi in a certain part. The so-called Chinese Taoist spirit is artistic in nature, which can be strengthened. Strong evidence. Fisher believes that the higher the concept, the more beauty it contains. Therefore, when the current artists are creating original works, the first thing to solve is the problem of worldview: the understanding of the world, the understanding of nature, that is, the most suitable modern thinking mode, and a better interpretation of the current human society. The values of the world, which in turn leads to methodological innovation and inquiry.

Fourth, the thinking caused by modern ink painting in the past 30 years

After the reform and opening up, although the so-called new art forms such as experimental ink painting have appeared one after another, in fact, they still continue the western modernist ideas, supplementing the lessons of western modern art, and have not solved the problem of epistemology as a whole. At present, there are still people who have not fully recognized this point. As soon as mentioning ink and wash is associated with the so-called "populism"; contemporary ink and wash is the best way to explain the yin and yang relationship of Chinese Taoist philosophy. Opposing each other, but inheriting the Taoist people and nature, human beings are part of nature, human beings conform to the spiritual concept of natural development, therefore, ink artists also adhere to this spirit, the view of all things in the world is Yin and Yang philosophy is based on epistemology. Many scholars in the West, such as Heidegger, have realized that the logic of modern western philosophy has entered a dead end. Including Marx has also recognized this problem. Based on this, there is no relationship between the creation of contemporary ink painting and the so-called "populism". It is nonsense; it cannot be said to be populism in general because it emphasizes the relationship between the spirit of "Tao" or "Zhan" and the present. If these people are considered populist, does it seem shallow and ignorant at the level of knowledge structure, and narrow and closed in vision?

Today's Chinese art world has formed a diverse and multi-patterned pattern. Facing this era of art contention, each art concept is an art space and principle that develops in parallel. Similarly, it is not possible to achieve mutual integration through simple copying and pasting. If we want to maintain the vitality of ink art, the most important thing is that artists should maintain "cultural purity under nationality" in their creations. The understanding and grasp of traditional culture is not narrow nationalism, but to maintain the artist's sincere artistic concept.

In such an age of cultural complexity, based on the analysis of traditional cultural rationality, can we make a correct judgment on reality and art. The forms and methods of contemporary art creation can be colorful, and the phenomenon of acquisition of form and language transfer does exist, but what is really important is how to borrow these forms and languages of Western culture to face the traditional Chinese culture and see the Chinese culture The essence of existence. If the mother culture representing China and even the entire Oriental painting deviates from this foundation, it will not be able to find its place in artistic innovation and modernization.

Right now, contemporary ink and wash is facing an embarrassing two-way embarrassment. How contemporary ink and wash develops must first be based on China's economic prosperity, how to complete the inheritance of culture and art under its own circumstances, and how Chinese contemporary art can get out of its own independence In the contemporary internationalized and diversified living situation, new thinking and establishment of ink art have prompted us to still need to find a major breakthrough direction in ink and wash, and the overall spirit of this direction is still showing nature. Development under this philosophy. Contemporary ink painting should be technical, philosophical art or philosophy of art. It is different from traditional ink painting in "narration", "talking" and "talking". Under the general trend of the future development of contemporary ink painting, the important task to be completed is how to show the contemporary nature of Chinese culture and the internationality in contemporary space-time.

V. Contemporary ink painting supports the development of new philosophy and new science

The new and quiet contemporary ink and wash created by the infiltration of the living propaganda, the quiet and elegant artistic conception and the ethereal and ethereal, ethereal, mysterious, long-distance visual effects are consistent with the Taoist idea of the unity of heaven and man. In fact, the ink color is an abstraction of color. It reflects the Taoist philosophy of being brilliant and colorful but being simple and plain. The creation of contemporary ink art from the real world to the mysterious state of the soul, and finally to the "authentic" is an exploration that fully conforms to Taoist thought and contemporary western philosophy. This exploration is an exploration of spiritual and philosophical propositions. All ink paintings with images or image hints are not the main thrust of contemporary ink painting. Contemporary ink painting transcends the dichotomy between subject and object and transcends time and space. It is not a representation of the objective world, nor a manifestation of subjective consciousness. It is a philosophical expression and spiritual pursuit that transcends the subject-object relationship.

Fractals and dissipative structures and chaos theory are collectively referred to as the three major scientific discoveries in the mid-1970s. John A. Wheeler, a famous American scientist, once said that "you can believe that whoever is not familiar with fractal tomorrow will not be considered a scientific cultural person. The concept of fractal geometry and its relationship with art are discussed in another article. In nature, fractal phenomena are common and can be found immediately. For example: the growth of crystals in the micro world, the phase transition process and chemical reactions, the direction of rivers in the macro world, the branching of branches, and the distribution of earthquake magnitudes; even the branches of blood vessels and the distribution of brain waves in our blood circulation system are Fractal. Fractal theory believes that the law of "fractalist survival" exists in nature. We can extend that: all organic life or former life forms exist in the relationship of fractal geometry. Fractal geometry is actually natural geometry, all of which are formed by the action of water. We believe that the smears and movement traces of ink on rice paper are fractal. The motive force of ink and water fractal is water.

The expansion, extension, and confluence of ink lines caused by the mutual infiltration of ink and wash are familiar to people because this similar fractal geometric relationship happens to us all the time. For example: the margins of leaves, the lace of flowers, the rings of trees and so on.

The breakthrough in the development of new ink art is "water". In fact, in the eyes of real Chinese artists, "ink" is by no means just a kind of material and pigment. What makes the ink contain this mystery and change is "water", which can also be said to be "nothing". The reason why we strengthen and emphasize the meaning and role of water, it can make ink painting more integrated into the life meaning of Taoism, painter s emotion, natural natural interest, etc., and raise the beauty of nature to a higher level. That is the unity of subject and object in western contemporary philosophy.

Text: Zhang Qingyuan and Zhu Yuze

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