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The heart of awe and the beauty of greatness

Article source:LuoXiaoPing

Release time:Oct 27, 2017Page view:195

——read Loxiaping's oil painting works

 

WuYongQiang

Art critic, professor, School of Art, Sichuan University, Ph.

       Abstract: Wu Yongqiang: Heart of Awe and Beauty of Sublime - Illustrated by Luo Xiaoping.

Loxiaping is my friend, because I want to do the exhibition and out of the book, and asked me to write a piece of things, as a friend, of course I am duty-bound. But due to a lot of personal business, I gave myself the reasons for the thousand delays. In a blink of an eye, I had to sit in front of the computer and start tapping the keyboard. Frankly speaking, although it is a friend, in the past I have only sporadic understanding of the creation of Loxiaping, this time because to complete the homework, only to get a focus on the study opportunity. However, his works all the way to see the past, I began to feel the first time, I sincerely admire the brother is really a diligent painter, do not have to say that the accumulation of the past, alone in recent years, the painting let me dizzying. This exhibition and the collection in this book's works, it is mainly from this part of the works carefully selected.

From the theme, Loxiaping's paintings have landscapes, flowers, and still life. The landscape accounts for the largest proportion. Compared with its flowers and still life, I felt that the landscape is not only the most customary subject of Loxiaping, but it is almost a tune in all its creations, for even his flowers and still life have the scale of landscape painting and the atmosphere of landscape painting, in other words, they are not treated as pure flowers and still life, But through some kind of "landscape consciousness" filtration, has become the flower scenery and the still life scenery. These images have a full sense of space-time, scene, and free to emit energy. Although flowers or flowers, still life or still life, but all recognizable visual objects have quietly played a morphological variation, some of the details were removed, some of the wanton spread. The entities that originally belonged to the object have undergone structural changes and are being generated in the logic of the picture itself. But at the same time, they are also in the direction of natural reduction, like flowers unwilling to be inserted in the bottle, the goods are no longer satisfied with the daily indoor, they want to return to heaven and earth, under the sun, to breathe air, contaminated with nectar, meet the wind and rain Shuming and hour changes. It is the painter's "landscape consciousness" that gives them the power to return.

It is not difficult to see that, although Loxiaping has a profound realism skills and does not have a self-inflicted, his works absorbed in many aspects of western modernist painting vocabulary, often using large color gamut and decomposition of the method to deal with the object. This is not important, however, and it is important that all the methods used by the painter eventually converge into a sense of focus, which is a sense of reverence for the beauty of nature. may be unable to withstand such temptation, Loxiaping again and again to the wild. To this end, he also bought a car, so that he can walk in the wild, sleeping in the wild, and natural things. In the picture of the wild sketch, we can even see the path of the explorers-storms, flying snow, waterfalls, glaciers, swamps, crags rocks, giant valleys, and extremely cold weather, vast fields, tumbling skies and ring streamers ... Not only did he often explore in the extreme, but he also drew the kinetic energy from the danger to the ordinary scenery, the movement of the rhythm and changes in the color of the most of his works, even if it is the blue pool, Lin Qu Jian, or quiet village, stone construction and winding road, but also because of the sharing of the power of the roaring nature and full of visual shock.

"The Analects of Confucius," There is a record: "Son Yue: ' Big!" Yao is the king. The towering! Only the sky is big, only Yao. It's swinging! The name of the people is weak. The towering! It has success as well. Hwan-hing! its scroll. "View Loxiaping works, I can almost get a set of unified visual images, and Confucius this overwhelming rhetoric phase complement, in a word, that is" big "---towering! It's swinging! Even if not by size, also quite feel "incompetent name Yan". The difference between the two is that the "big" in Loxiaping painting has filtered out the calculation of human relations and the with of power, and created the atmosphere of aesthetics.

There is a traditional aesthetic category in Europe called "lofty", and this "big" has the equivalent purport. In line with "graceful" opposition posture, lofty not only points to natural things, but also point to social life, mainly refers to the object to the rough, broad perceptual form, difficult to tame the force, form a vast momentum, to the body and mind of the shock, so that its open vision until the spiritual realm. Lang Gignis, the ancient Roman rhetoric, described the sublime as "the Echo of the Great mind"; the 18th century British empiricism philosopher Burke expressed the sublime as a painful and joyful mood; Kant, the German classical philosopher of the Times, distinguishes the sublime and the sublime of the power--according to his view Sublime is the feeling of self-esteem that arises when a person is conscious of his strong courage and human dignity. In short, if the aesthetic object is enough to be called lofty, then it must have the "big" quality, like the vast sky, the vast sea, the desolate desert and the 莽苍 Mountains, behind the limited, visible appearance, is infinite, invisible things. Therefore, the size of the object, whether based on the size of the body, the expansion of the volume or the surging of force, are all delivered to the imagination, as a reflection of the human spiritual world. Looking at the works of Loxiaping, we have seen the glow from the reflection of the spirit, behind the awe of nature and the exploration of life.

Although Loxiaping often use the way of sketching to complete his works, but I can not take these works and the popular meaning of "sketch" as the same, because in this sense, the sketch is only the training of painting techniques and the function of collecting materials, and Loxiaping's painting has already exceeded this level. By walking and exploring in nature, he created an opportunity for himself to explore life. It is an exploration of another life experience that is different from everyday experience, enough to stop the hustle and bustle of the world, to forget earthly troubles and to grow in awe of nature. In fact, Loxiaping's process of sketching is the process of affirming the sublime of nature and expressing its awe by means of painting, which makes the sketch transcend the usual realm and sublimate toward the passionate creation. This process also constantly pottery the painter's unique "landscape perception", so that even back to the city and work room, but also to the immediate flowers and still life into a full landscape.

Loxiaping uses oil painting medium to construct its painting world. Look at his paintings, the most striking impression of the viewer is its material sense, that is the oil paint on the canvas left the "feel" traces, exposing the full material--the weight, the texture, the thread and texture of its own movement--it can be imagined that the physical nature of this material is inevitably contradictory to the physical nature of the object, and precisely at this point, The painter's passion played a role, it through the touch of the hand--body consciousness--to coordinate contradictions, germinal harmony, in the image and color use between the creation of a full of tension between the aesthetic; at the same time, the perceptual object was raised to carry the imagination of the material, the immediate natural object into a spiritual landscape. Loxiaping on the use of pigments are both thick and thin, thick as mud mixing, thin such as ink rendering, but all have the charm of physical nature. Regardless of thickness, they all permeate a freehand style of melody, free, unrestrained, hearty. In recent years, Loxiaping's works are more and more unrestrained, they are about to ignore the appeal of the depiction, and only rely on the momentum to be able to get a sound, this is a mix of imagery and abstraction, physical and spiritual harmony, and all by freehand brushwork or knife to achieve. Especially his skilful knife, leading the big color gamut, in the screen left flush right, releasing the writing of the carefree, lava-like momentum, forcing the screen to give up the lazy idle, show the activity of the individual life and Nature Symphony.

In visual effect, Loxiaping's works are sublime and beautiful. The former is based on the painter's reverence for nature and the painting of the sublime of nature, which is based on the artist's influence on the picture and the decorative feeling. In fact, in view of all of its works, we know that the painter is not willing to maintain the integrity of the object and sacrifice emotional performance, but also refused to emotional performance and sacrifice the aesthetic image, on the contrary, he always wanted to be descriptive, expressive and formal beauty balance between. His pursuit of beauty may have originated from his early studies in Sichuan Academy of Fine Arts and design training. Meanwhile, the traditional Chinese painting training in the earlier time has prompted him spontaneously to seek marriage between Chinese and western art, and its painting on the writing and Freehand brushwork, plane and perspective, emptiness and reality, writing and composition of some of the contradictions between the treatment is not only influenced by Western painting, obviously, And the silent expression of Chinese cultural genes. In fact, all these contradictions can be summed up as a problem of cultural identity, that is, the east and the West, the traditional and modern collision, conflict and response plan, especially in the context of globalization today, Chinese artists can not take a detour. Loxiaping of course no exception. If the sublime is not only a reverence for the power of nature, then we will have a more spiritual understanding of the sublime aesthetic in the individual practice of Loxiaping, which is not possible. Lyotard said, "existence" is not expressive, but also demand performance, when the art of such a request to make a positive response, it is no longer concerned about what happened, but concerned about "occurrence" or not, at this time, it is its "defend the occurrence of" the action of the birth of a lofty aesthetic. In layman's parlance, the lofty esthetics is lofty, lies in its only asks the work not to ask the harvest but can indomitable. Fortunately, this situation continues to occur in Loxiaping's creative career.

 

 


October 27, 2017, Wangjiang campus, Sichuan University