Lu Peng<\/p>\n\n\n\n
Some Thoughts on the Art of Yan Shanchun<\/strong><\/p>\n\n\n\n Lu Peng Yan Shanchun\u2019s is an art of cultivation, an art in which is implicit a deep respect for our own artistic history. And at the same time, this is an art that requires from us a theoretical understanding of both the ancient tradition of Chinese literati painting and the modern tradition of Western abstract art. There is no question that literati painting represents the pinnacle of the Chinese artistic tradition. For over a millennium, the forms and themes of literati art have remained essentially unchanged, free of stylistic transformations or conceptual revolutions. Rather, the development of the literati tradition has been marked by a process of gradual and subtle evolution, at the heart of which has always been the search for and perfection of what the literati call\u00a0quwei<\/em>\u00a0\u2013 a quality that has been translated in the West variously as artistic sensibility, inner vitality, discernment and taste. This concept of\u00a0quwei<\/em>\u00a0is intimately linked with the literati lifestyle and its cultivation of knowledge; and it is precisely this quality that has most set literati art apart, keeping it within the purview of high or elite art. The gaze of literati art is focused on the inner life of the artist, yet at the same time it is a tradition founded on a sense of historical memory, of reverence for the past. As a result, the role assigned to individual creativity within the tradition is extremely subtle. Due to its origins in the calligraphic tradition, literati painting places far greater emphasis on brushwork than on form.\u00a0 Another fundamental feature of the tradition is the creation of an aesthetic doctrine to encode literati artistic conceptions. Since these artistic conceptions derive essentially from the traditions of calligraphy and painting, if one does not possess a theoretical or connoisseurial grounding in these traditions one can never truly understand literati art or discern the subtle expressions of individuality within a painting. Western abstract art has always been concerned primarily with what might be termed metaphysical expression. Its main developmental thrust has been in the visual embodiment of the most primordial inner emotions. Abstraction is thus an art that constantly confronts the landscape of the heart; and as such, it requires that the artist possess both a strong visuality and a deeply felt, almost uncontrollable creative impulse\uff0c During the late 1970s Yan Shanchun studied at the China Art Academy in Hangzhou, previously known as the West Lake National Art Academy. This unusual institution was extremely progressive and yet at the same time was steeped in the literati tradition; and to this day it has maintained great pride in this combination of openness and classicism. During his time there Yan Shanchun was deeply immersed in the study of the lives, connoisseurship and art of early 20th<\/sup>\u00a0century literati masters such as Huang Binhong and Pan Tianshou, and extended this also to very systematic research into (and publication of an important study regarding) the entire literati tradition which was so highly revered by them. At the same time, in his artistic training Yan specialized in Western painting and became well versed in a whole range of techniques from realism to impressionism and abstraction. In his analysis of the Western-influenced painting of artists such as Lin Fengmian, Wu Dayu, Ni Yide and Guan Liang, Yan Shanchun came to the realization that the concept of\u00a0quwei<\/em>\u00a0not only was a common ground shared by both Chinese and Western painting but also was an intrinsic quality of the art of painting itself. His solid foundation in formalist techniques combined with his deep artistic cultivation have allowed him to travel a path completely different from that of other contemporary Chinese artists: one marked by an ability to nurture and develop his painting by cultivating his knowledge. In his recent works on canvas Yan Shanchun employs the various media and techniques of ink, acrylic and tempura to create visual remembrances of his youth spent along the shores of West Lake. Yan spent more than 24 years roaming amid that beautiful landscape and has an intimate knowledge of each nook and cranny. In the last few years, this act of remembrance has become an integral part both of Yan\u2019s life and of his creative work. Equally, this act of remembrance, or one could also say re-visualization, is also one of the most enduring themes of Chinese literature and art; and it is this which above all imbues Chinese painting with its strong sense of history. It is also why the Chinese literati\u2019s pursuit of elegant brushwork and an artistic mood of reflective tranquility require that the artist who creates the work and the connoisseur who \u2018reads\u2019 it simultaneously position a painting within two different contexts: the context of art history and of personal life experience.\u00a0 While Yan\u2019s remembrances\/re-visualizations of West Lake are identifiably filtered through the artistic lens of painters like Huang Binhong, Pan Tianshou and Lin Fengmian, yet he has clearly developed his own independent modes of expression. Another of Yan Shanchun\u2019s characteristics is that he has always maintained a strong sense of equilibrium, or counterpoise: one could say he is an artist enamoured of the \u2018Law of Contradiction\u2019. In terms of form, his paintings are grounded in the principles of abstract art\u2014yet at the same time there is always a very clear conceptual direction. In terms of expressiveness, his brushwork is both spontaneous and calligraphic, and yet always shows a quality of restraint. And stylistically speaking, while he pursues the qualities of elegance and refinement, there is also always a rough or unpolished quality, a kind of intentional awkwardness: the artist himself defines this style as \u2018rough elegance\u2019 (shengxiu<\/em>). This concept of \u2018rough elegance\u2019 has never appeared before in traditional Chinese poetics or painting theory, but it is a quality we can identify in the work of Tang poet Lin Shangyin, the paintings of Yuan master Zhao Mengfu and the calligraphy of Ming artist and theorist Dong Qichang (but of course the ability to discern this quality requires that one has developed a very good eye.) In formulating his theory of art, Dong Qichang wrote that \u2018a thorough grasp (shou<\/em>) of technique is important in calligraphy, but one must then forget technique and seek spontaneous naturalness. A fresh conception is important in painting, but one must still have a thorough grasp of the tradition.\u2019\u00a0 I believe Dong Qichang\u2019s concept of\u00a0shou<\/em>\u00a0(thorough grasp or understanding) is related to Yan Shanchun\u2019s concept of\u00a0xiu<\/em>\u00a0(elegance), although of course Dong Qichang was speaking from the perspective of technique. As China entered the modern era, artists looked to the West for artistic models that would help to remedy what they perceived as the stylistic stultification of Chinese traditional painting and in particular its lack of further development in terms of a formalist language. Many artists began to focus on recording scenes and narratives from \u2018real life\u2019 as a means to close the gap between the elitist world of traditional art and the rest of society. As for contemporary artists, they now tend to focus more on the fleeting realm of the senses as their main subject of expression. In theory, each of these artistic approaches has praiseworthy qualities, yet all of them tend to produce artwork that seems ungrounded and lacking in internal strength. Given this situation, Yan Shanchun\u2019s artistic style and the creative path he has chosen to take are especially worthy of our attention and study. For his is an art that is steeped in the patina of history, but that is also moving into the future. (Translated by Valerie C. Doran)<\/em> \u2015\u2015\u95dc\u65bc\u56b4\u5584\u931e\u7e6a\u756b\u85dd\u8853\u7684\u601d\u8003<\/strong><\/p>\n\n\n\n \u5442\u6f8e \u9019\u662f\u4e00\u7a2e\u6709\u6559\u990a\u7684\u85dd\u8853\uff0c\u4e00\u7a2e\u4e9f\u5f85\u6211\u5011\u7684\u85dd\u8853\u53f2\u8a8d\u771f\u5c0d\u5f85\u7684\u85dd\u8853\u3002\u9019\u7a2e\u85dd\u8853\u9700\u8981\u6211\u5011\u904b\u7528\u53e4\u8001\u7684\u4e2d\u570b\u7684\u6587\u4eba\u7e6a\u756b\u548c\u73fe\u4ee3\u897f\u65b9\u7684\u62bd\u8c61\u7e6a\u756b\u7684\u7406\u8ad6\u4f86\u52a0\u4ee5\u8a6e\u91cb\u3002 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Lu Peng Literati Painting? Abstract Painting? Some Thoughts on the Art of Yan Shanchun Lu Peng Yan Shanchun\u2019s is an art of cultivation, an art in which is implicit a deep respect for our own artistic history. And at the same time, this is an art that requires from us a theoretical understanding of both […]<\/p>\n","protected":false},"author":8,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[87],"tags":[],"class_list":["post-2837","post","type-post","status-publish","format-standard","hentry","category-87"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.hanart.com\/zh\/wp-json\/wp\/v2\/posts\/2837","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.hanart.com\/zh\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.hanart.com\/zh\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.hanart.com\/zh\/wp-json\/wp\/v2\/users\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/www.hanart.com\/zh\/wp-json\/wp\/v2\/comments?post=2837"}],"version-history":[{"count":0,"href":"https:\/\/www.hanart.com\/zh\/wp-json\/wp\/v2\/posts\/2837\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.hanart.com\/zh\/wp-json\/wp\/v2\/media?parent=2837"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.hanart.com\/zh\/wp-json\/wp\/v2\/categories?post=2837"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.hanart.com\/zh\/wp-json\/wp\/v2\/tags?post=2837"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Literati Painting? Abstract Painting?<\/strong><\/p>\n\n\n\n
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