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线上展览(五)传统与创新|国际视野下的中国绘画——中国国家画院作品交流展(荷兰展) 线上展览(五)传统与创新|国际视野下的中国绘画——中国国家画院作品交流展(荷兰展)


part.5 传统与创新





Tradition and Innovation
Chinese painting matured early, achieving advanced techniques and theories by the Wei, Jin, and Northern and Southerndynasties (5th century). After more than a thousand years of development, by the 17th century, it had formed a comprehensive set of expressive methods, a process known in Chinese painting theory as “formalization.” The establishment of standards and formats was an obvious double-edged sword: it provided artists with a complete system of techniques while constraining the further development of those techniques. Nonetheless, in each dynasty, such as the Tang, Song, Yuan, Ming, and Qing, Chinese painting had evolved to a certain degree with the times, leading the famous Qing dynasty painter Shi Tao to argue that “brush and ink should follow the times.”
The meaningful departure from tradition didn’t happen until the 20th century. The Western influence on Eastern painting and the Sino-Western fusion saw Chinese painting in this era actively absorb external methods in its techniques, becoming increasingly diverse in style and distinct from tradition. This ultimately formed the prevailing Chinese painting style on display in this exhibition. Unlike the break between European modernist and classical art, Chinese painting, despite many changes in form, had never completely abandoned tradition. For example, it had always been created on xuan paper and used brushes, ink, and Chinese painting pigments. However, during the 1980s, the influx and integration of various ideas and modes of expression from Western modernism (Dutch artist Van Gogh is one of the most influential Western artists in China) into Chinese painting significantly transformed the latter’s character, making it more clearly reflect modern aesthetics and concepts, to the point that some works even resembled modernist art more than traditional Chinese painting.
Today’s Chinese painters exhibit great diversity in both technique and concept. Particularly among the younger generation, it has become commonplace to incorporate modern painting techniques and ideas, and their range of subjects far exceeds those of ancient Chinese painting. As shown by the artworks included in this exhibition, contemporary Chinese artists depict not only real life but also their inner worlds; they delve into ancient traditional culture and absorb contemporary thoughts. Their techniques have not broken away from tradition, but their perspectives have expanded beyond the national borders, focusing on topics of common concern to all humanity. While inheriting tradition is undoubtedly important, striving for innovation on the foundation of this tradition is even more crucial because this very endeavor explains the continued vitality of Chinese painting.

Chen Ming

卢禹舜 覆天载地 四方八极 六合九州 天地人和 大道不孤 136cm×68cm 2022

刘万鸣 田间 56cm×46cm 2015

刘万鸣 古木狸影 126.5cm×54.5cm 2019

刘万鸣 猫蝶春酣 70cm×34cm 2020

刘万鸣 乡情组画之一 60cm×40cm×4 2023

张江舟 虚拟人生指南-我就是宅女 100cm×100cm  2023

张江舟 虚拟人生指南-孤独真好 100cm×100cm 2023

张江舟 虚拟人生指南-我太累了 100cm×100cm 2023

张江舟 虚拟人生指南-我有一种挫败感 100cm×100cm 2023

田黎明 远方之一 180cm×97cm 2023

田黎明 远方之二 180cm×97cm  2024

田黎明 阳光 180cm×97cm  2024

田黎明 小河 180cm×97cm  2024

姚大伍 数字空间 110cm×110cm 2024

姚大伍 莫瑞吉奥卡特兰的香蕉 110cm×110cm 2024

姚大伍 虚拟中的元宇宙 110cm×110cm 2024

姚大伍 易碎性的表达 110cm×110cm 2024

方土 三星堆密码之一 180cm×97cm 2022

李晓柱 地涌金莲系列之二 180cm×97cm  2024

李晓柱 地涌金莲系列之三 180cm×97cm  2024

李晓柱 地涌金莲系列之四 180cm×97cm  2024

李晓柱 地涌金莲系列之一 180cm×97cm 2024

方向 北海 180cm×97cm×2 2022

方向 景山前街 180cm×97cm×2 2023

方向 夏日 139cm×35cm  2015

方向 泳池  139cm×35cm  2015

编辑 |齐丽梅