Thirteen Art Festival special issues ｜ Shang Pingjun: The spiritual practice of non -concrete art

▲ Shang Pingjun's noodle oil color 2022 190 cm × 190 cm

▲ Shang Pingjun's noodle oil color 2021 160 cm × 200 cm

▲ Shangpingjun's cloth oil color 2020 130 cm × 162 cm

▲ Shangpingjun's noodle oil color 2022 200 cm × 200 cm

Pingjun knows self -discipline in the pursuit of freedom and freedom. This decisive attitude of natural and rational interweaving has enabled him to walk towards his "light realm" in a manner in the later years.

In Pingjun's paintings, it is not difficult to see the impact of Lin Fengmian, Wu Dayu, and Zhao Wou -ki, and the ideal of creating modern art with oriental spirit has long become the road signs of his painting practice. From the relationship between Pingjun's life and painting, you can see such an attitude: no matter how rough the situation of life, he accepts and regards it as an internal driving force for artistic practice. This is the attitude of being engaged in painting art in the way of painting in the way of painting in a sense of life. The integration of the relationship between art and life makes the shape and intention of Pingjun's works become a true trace of his life experience.

——He Hongzhou (Professor of China Academy of Fine Arts, Dean of the School of Painting Art)

I think any art form has its own vitality. The key is whether the artist has something to say and can be expressed truthfully. Most of Pingjun's works are abstract paintings. Some sporadic sporadic spots or pen -tough texture are scattered on the large color gamut, which is less, simpler, and empty than he used to be in school. But I seemed to feel his life trajectory in it. Many people are alive like Canada, and more and more things remember, and they feel more heavy. The rare thing is to live like a subtraction, which can slowly remove all the burdens. In the end, only one side is quiet, which is very desirable.

I am fortunate that today there are still artists like Pingjun, who unremittingly insist on and pursue the realm of "arrogance" in the "no waiting".

—— Zheng Shengtian (well -known contemporary artists, scholars, international senior strategists)

You need to hold your breath and watch quietly. First look at it, look at the general trend; then get close to the picture, and see the mystery between the paintings, the ritualization is very sacred. But remind you, don't look forward to seeing Yun Steamed Xia Wei, Chen Xi twilight, let alone see Longteng Tiger Yue and Wandering. As for the bamboo shadow and the water, the mountains and water color are not found in Pingjun's paintings. Pingjun painted it. It is the heart. His heart image seems to have no trace, or rarely trace, that is actually a realm, the realm for Pingjun to yearn for, seemingly ethereal and far -reaching realm, letting Pingjun's minds galloping, buried, buried The realm deep in Pingjun's mind.

Painting and heart elephant can confirm each other, which does not mean that they are derived from the facts between them, and this one is almost absolute. Too persistently looking for the basis for confirming each other between painting and mind will also encounter the embarrassment and helplessness of confirmation. Sometimes it is wise to admit that the interception between them is not loser. This is not only for viewers, but also a relaxed choice for creators. If you can paint, everything will be much simpler. However, history is always tangled. It is assumed that painting is really unspeakable, so only the viewing is left, and each eye is independent. Too much explanation is equal to no explanation. Today's art is roughly caught in this dilemma. At this point, I suddenly felt that my interpretation of Pingjun's works was suppressed or redundant.

In any case, there is still a trace to find it. Even if Pingjun's heart, it can still reveal more or less, faintly reveal the voices of the door outside, the front window, and the intermittent human voice. Between heaven and earth. After all, Pingjun is a real person. He has always lived sincerely, always facing himself, facing the world, and art. It is unimaginable between his paintings and his heart.

——Du Dakai (Tsinghua University's first batch of senior liberal arts professors and doctoral supervisors of the Academy of Fine Arts)

The literati painting system is not all the traditions of Chinese painting. Most of the literary paintings are limited to a aesthetic poetic expression, but in the Buddhist painting and statues, there is already a higher -level expression of the ultimate situation. In a sense, Shang Pingjun uses this painting system as a starting point for modern conversion, that is, the modern way out of Chinese painting is not to make the ink and wash towards formalism, but the connotation of the "realm" rises to a kind of ideas and freedoms about "realm". The ultimate expression, related to this, also moves to a more abstract form in language.

It is undeniable that the use of abstract forms comes from the West, but Shang Pingjun obviously removes the main consciousness of the modern formalism of the organizational principles of abstract forms.Western formalism emphasizes that abstract language is a form of consciousness, or the pure form of concept, but Shang Pingjun is more willing to put painting in the discussion of the "pre -consciousness" about the real estate relationship.An absolute area without distinction.Although this exploration does not reach a sufficient freedom in language, he has opened up a new possible direction.——Li Qi (art critic, doctor of art, researcher at the Chinese Academy of Painting)

"China Culture News" on September 23, 2022

5th edition -36 version published on the 13th China Art Festival special issue

Among them, the A16 version published

"Shang Pingjun: The Practice of Non -Sitic Art"

↓ ↓ ↓ ↓ ↓ according to

Editor -in -chief: Chen Xiaoyue

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