Release date: 2016-04-14 source: China Art daily
Abstract: "Beautiful Xiamen - Contemporary Art works Exhibition in Beijing" the paintings from different angles present a modern but still an exquisite scenery island city, interpretation of the glow of marine culture in the city open but still embodies a unique charm of the China spirit.
Original title: colorful brushwork and modern style, beautiful outline
Chen Yayuan | Jimei School Village | lacquer painting | 133 x 178cm
Most of the coastal cities, most have the signs of the marine culture open and pluralistic. On the one hand, different types of culture like that everfount into the ocean, make it more vulnerable to foreign invasion and infiltration of exotic culture and western culture; on the other hand is the port city to mix different nationalities and settlements, the immigrant culture and inland culture constitute a deep connection. This is especially true for Xiamen, a city in the sea, all the more so. At the beginning of twentieth century, the island became the public concession, from here to become a foreign culture and local culture blending border, such as Taiwan Fujian; and since the new period, one of the four special economic zones in the country once the building door again ushered in its front position of the reform and opening up in China -- the first implementation of the opening policy five development of comprehensive reform of National Experimental Zone, one of (Fujian) three free trade test area, the international trade pattern will again expand the Xiamen open cultural vision.
This is perhaps we look into a cultural climate in " "Beautiful Xiamen - Contemporary Art works Exhibition in Beijing" from the bright and colorful paintings. Indeed, "Spring morning of Luhai", “waves of Gulangyu", “Creative Huli", “Humanistic Jimei”, “Vigrous Haicang”, “Red Tong’an, Lu Island feeling", and "Xiang’an spring" and some masterpieces, panoramic view of mountains-and-waters painting composition, microfilm interspersed of bird and flower painting, magnificent color of landscape painting, show a spectacular picture of Xiamen's modern development and prosperity to the people. Especially "Spring morning of Luhai" taking a panoramic view of the landscape painting, the island of Xiamen, Gulangyu Islet, Tongan, Jimei, Haicang, Xiangan etc. the modern coastal city style panoramic view, is a new exploration of the traditional landscape painting theme creation. But “Vigrous Haicang” with brilliant colors highlight the modern port Haicang crane stand posture, the complementary and exaggerated enhancement of the blue green and orange purple are not realistic, may also capture the vibrant impression of the peoples for today's Xiamen.
Chen Yayuan | Listen to the flowers | lacquer painting | 120 x 90cm
This cultural symptom of open and pluralism undoubtedly create unique artistic image of Xiamen. Here, the popular of western painting perhaps those inland city administrative division at the same level incomparable; here, developed and creative new modern lacquer painting has become the contemporary Chinese lacquer painting academic symbol; here, Chinese painting not only embodies the Bamin deep traditional brush and ink, but also because of the natural vegetation of Lu island and show fresh and elegant style. All of these may attract us to examine and explore the unique phenomenon of contemporary art in Xiamen from the perspective of contemporary culture and geo culture.
When once the public concession retained in the ocean villa floating piano melody, you will feel the oil paintings and watercolor paintings, the strong sense of color is the original color of the island. Xiamen oil painting, watercolor colors and make snap freehand feature, is the deepest impression of this exhibition. This exhibition not only Hong Ruisheng's "Winter Gulangyu Islet" and Li Yunqi "Wind bell", the more realistic language performance Lu Island style, but also Xiong Libin's "People on the grassland", Jia Hongmin's "Noon" and Gu Zhiyong's "Border town" as the underlying concern of the social reality. Their language is simple and realistic, but simple, only in those showing sincere and affection, which depicted scenes and life in the bottom of people; also because of simple, it makes them under the pen of the island style reflected different feelings of implication.
Yu Yu Xi Xun (lacquer painting) Chen Yayuan
If the exotic and romantic Gulangyu Islet to release more features in those freehand painting and watercolors, then, must be the waves, the sun, the shade gives inspiration and imagination to the painter. Xu Li’s "The garden" to adjust the color for building the beige courtyard, the sun through the leaves just hook writing, both the whole picture of the warm hue is quaint, elegant and easy. Unlike Xu Li's capture garden sun freehand, Zhao Jiujie's "Purple garden" in a virtual writing sketch that gorgeous garden flowers, he depicted those gaudy colors with Chinese painted white. If the painting of freehand brushwork, has rich ruby color, that Zhang Liping's "Blue boat" is all blue and the SouthMin China Fujian sea boat that mark rich edge red, but he pulled away the images, make the colors showing a strong but clear, loud but pure performance. From this height images out of color and through the creative methods of color image reconstruction, and more appear in Huang Zhiyang's "Menurae bell late cloud", in Weng Weimin's "Huian impression", Jiang Jianzhi's "Blooming Bougainvillea”, Xu Qiang "Plantain daybreak" and some oil paintings, to capture the island subtropical plants, Gulangyu Islet red tile yellow wall and Fujian red earth and coast high illumination sunlight color, let them try to freedom by the color abstraction and simplify images to achieve subjective performance.
These depict Xiamen watercolor and oil painting has a strong freehand brushwork, water and color are saturated with the pursuit of tension, but also try to break free from the concrete description. A "timely" to dim the lights the lamps and candles of a myriad families is orange in general in the blue ultramarine, "Chen Qiliang bay" in the deep tone in the bay to capture eplant white like peacock thousand million. Zheng has wonderful "Adorable Yang" and Chen Qiduan's "loss", Italy has imagination and painter subject in simple color, the color of the good writing; on the contrary, Xu Guangpei's "Liu Weihai", "Fujian's spring", or in a dense structure description of coastal buildings, or in the complex sea fishing boats set out a pen, the formal language consciously give them more to watercolor aesthetic meaning.
Chen Yayuan | Secluded | lacquer painting | 60 x 138cm
Perhaps, is the color and shape of these paintings of nourishment, it prompted the modern transformation of Xiamen native lacquer painting. Xiamen lacquer painting with the art of leveling is the height of the country, not only exhibited painter Chen Wencan, Tang Zhiyi, Zhang Yuhui and other such old-mid-youth academic leaders of the three generation or repeatedly in the National art exhibition award lacquer painting artists, has enjoyed the social reputation of the Xiamen Lacquer Painting Biennale Exhibition, also actively promote lacquer extensive exchanges with the outside world and modern exploration of the local lacquer painting. This exhibition by Chen Yayuan's "Yu Yu Xi Xun", Gao Hong "Old things of Gulangyu", Guo Ming's "A flake of cloud", Huang Wenying's "Greenhouse" such as paintings, let people see the last century since 80s in the modern lacquer painting form of linguistic exploration, mosaic, heap color and repeated mill lacquer, to give these the form of structure with special painting rhyme. How to enhance the performance of real life, in the traditional lacquer art to explore painting in the production process of artistic freedom, has become an important academic topic of contemporary lacquer painting. Yang Yaobin's "Spring breeze has a date", Wang Shu's "204 dormitory", Zuo Qingyi’s "Outside and inside network " and Su Guowei's "Yu cheng dong feng lan nian hua", with sharp strokes to capture the vitality of contemporary youth is living in a modern city, people see the artist’s the vivid portrayal of the real and modern college life in these traditional art, see the artist’s the rich in the sense of crossing writing for the internet age people between the reality and illusion, see the traditional lacquer art in expanding the scope of life but also continue to expand the range of lacquer art language performance. Wang Fengjuan’s “Shu”, Lin Zhixun and Huang Jiankun "old time", and Ceng Huahui's "Academy of Sciences Jiageng", in the combination of lacquer art and painting art undoubtedly gains new binding point.
The concept of modern art is also given the new space of lacquer painting. The exhibition lacquer painting is the combination of concrete and abstract at the same time, also boldly into pure abstraction, and the concept of material science to highlight aesthetic attribute of the lacquer materials. Tang Zhiyi's "Phoenix returning", Zhang Yuhui “Wen Xin Diao Long", Chen Jiecong's "Fusion" and Lin Yiwen’s “The light of life", if there is no linen, mother of pearl, paint wrinkle, heap color and other media art itself convey the cultural information, their symbol schema picture might not expresses the aesthetic implication so profound, and how to make the media talk, dip and stack paint to also give new aesthetic orientation to media. There are some lacquer paintings in the exhibition in the use of media and abstract symbols at the same time, also through a restructuring to strengthen the symbolic image picture. Especially Alex's "Genesis", Zheng Zhijing's "Night Walker" and Zhong Dazhang's "Wen", through the material, picture to showing specific image of things, but these re spell of the concrete transfer semantic content is fuzzy and uncertainty, which also made the profound and rich allegorical expression of modern lacquer painting.
Chen Yayuan | Long Ji Yao Jin | lacquer painting | 122 x 158cm
Bamin nature’s treasures, gathering of talents, Xiamen traditional painting is achieved a new breakthrough in the construction of contemporary visual culture Chinese and Western art collision. From Zengjing, Huang Shen, Li Geng, Li Xia's traditional character line drawing to combine contemporary ink and sketch, people in Zhao Xing’s "Lin Qiaozhi", Wang Xinlun’s "Dayaoshan backbone" and Zhao Shengli's “Timberman”, Liu Cunyou's "Workers", from works saw Xiamen ink painting for the reality of the characters, the works depict the simple images of intellectuals and workers, more deeply reflects the spirit of contemporary Chinese painting realism. In the field of landscape painting, both in the beginning of the article mentioned that show the new era in the macro style, there are Chen Xin's "New Creek Mountain Travellers", Deng Shaobing "Beautiful Spring and Green field" that new blue green, new realm. In the performance of the unique humanities style, Fang Guangzhi's "Quiet years", Lin Qinghui "Dreams of hometown" and Niu Huimin's "Minnan floating clouds" and tries to Haixi unique houses, vegetation, landform to integrate traditional techniques, explore the real reflects the landscape painting of humanistic geographical features. While Hong Huizhen’s "Valley", Tang Nannan’s "Home land", Liang Licheng's "memory complex branch" have the symbolic of landscape painting, these paintings on the one hand strive to use the most authentic brush and ink to express the pure language of Chinese painting, on the other hand, efforts to combine with images, explore the modern aesthetic experience of landscape painting.
The subtropical plants all over Xiamen, the island for the development of flower and bird painting created a unique condition. From ancient times, Bian Wenjin, Hua Yan to the modern Zheng Naiguang, deep nourish the Xiamen flower and bird painting are thus obtained Fujian tradition, and began to form their own unique artistic style in the modern transformation. In the flower and bird painting of freehand brushwork, Lin Cen "Fly high in its sky", Zheng Shenglong's "full of intoxicating sweet in the garden" is still traditional bold and simply stoke; between fine brushwork and freehand brushwork Zheng Jingxian's "World of flowers, Egret paradise", Zhou Yu's "Triangle plum red sun" is beginning to absorb western painting color language, color block to highlight the vitality of the Chinese subtropical flowers; Tang Linnan's "Autumn habitat", Hu Yuguang "Triangle plum", make decent writing and work with line organism combination, is sophisticated and elegant. The flower and bird painting almost all cannot do without captured for the elegant and noble posture of egret, perhaps this is a complex feeling of Xiamen flower and bird painting can not let go.
As the egret habitat, the sun, the blue sky, the sea and the flowers are all wearing a moist and fresh air. This is the smell was filled in the exhibition hall, as if it were a picture from a different point of view presents a modern but still an exquisite scenery island city, interpretation of the glow of the marine culture in the city is still open to highlight a unique charm of Chinese spirit.
Chen Yayuan | Listen to the spring | lacquer painting | 138 x 180cm