Throughout the development of Heilongjiang art theory research, there is a distinctive feature, that is, closely surrounding and serving Heilongjiang art creation. Guiding artistic creation to form the regional characteristics of Heilongjiang, starting the artistic brand of "Great Northern Wilderness Painting School", summarizing and popularizing the basic experience of Great Northern Wilderness printmaking, and introducing artists from our province, and making due contributions. Throughout the study of Heilongjiang's art theory, it is mainly manifested in the study of Beidahuang printmaking, snow and ice landscape, basic theory, national art and so on.
Lyric Black Soil —— Northern Wilderness Prints
Beidahuang printmaking is a well-known cultural brand in Heilongjiang Province. One of its main successful experiences is to highlight the role of groups and cultivate several generations of famous printmakers.
Great Northern Wilderness Prints have attracted the attention of the national art circles since their birth. Famous painters and theorists in China's art world, painters and theorists in our province, leaders in reclamation areas, and northern wilderness printmakers have written articles in succession, and spoke highly of the artistic achievements and successful experience of northern wilderness printmaking.
At the same time, the early painters of the Great Northern Wilderness printmaking also thought about the theory. Printmakers Zhao Mei, Du Hongnian, Zhang, Zhang Lu, Hao Boyi, etc. Theorists Wang Guanquan, Tao Tong, Zhang Hua, Yu Meicheng and Yu Xianda have published articles in newspapers and periodicals to introduce Heilongjiang printmaking art and its painters. According to incomplete statistics, as of the beginning of 1988 * *, there were 242 articles introducing the printmaking of the Great Northern Wilderness and other printmaking groups in Heilongjiang, which were published in the newspapers such as Art, Art History, Literary Criticism, Heilongjiang Art Newsletter and Heilongjiang Daily. Among them, 16 1 articles were written by Heilongjiang authors. (1) Up to now, no painting school in China art history has written so many articles to affirm its artistic achievements, summarize its basic experience and analyze its artistic path and aesthetic style. This has played an important role in making the Great Northern Wilderness prints go to the whole country and the world, and establishing the position of the Great Northern Wilderness prints in the history of the new edition painting movement in China and even in the history of fine arts in China.
Printmakers in the Great Northern Wilderness also wrote some articles about the basic methods and techniques of printmaking. The articles in this field mainly include several super-beautiful rubbing methods with special effects, how to use plywood, color matching woodcut, color rambling, composition exercise notes, brief introduction of knife representation knowledge, Du Hongnian's woodcut lecture, and the use of white in Hao Boyi's color matching woodcut.
Chao Mei, as the leader of the Northern Wilderness prints and Heilongjiang fine arts, pays great attention to and guides the growth and development of the Northern Wilderness prints and even the whole Heilongjiang fine arts with great enthusiasm. Among the theoretical achievements of the DPRK and the United States, there are some articles that summarize, review and comment on the printmaking groups and painters' creations in the Great Northern Wilderness. North Korea and America's comments on printmakers and their works cover three generations of printmakers in the Great Northern Wilderness. Although these review articles are written at any time at the invitation of painters and publications, they reflect the objective attitude and academic standards of printmakers who strive to avoid exaggeration and strive for accuracy. From the implication of the work to the formal language, to the color and knife technique, it can be said that it is meticulous and accurate, which is enough to show the familiarity of Chaomei with the object of discussion.
With the birth of one work after another, Chaomei has been thinking. "Chaomei's theory is based on rational thinking of feelings, which is neither a subjective assumption divorced from reality nor an empty sermon without words. His rich artistic practical experience, extensive knowledge cultivation, simple dialectical thinking and high cultural perspective make his theoretical articles popular and fluent, integrating knowledge, professionalism, academics and readability, so that readers can get satisfaction and spiritual pleasure in acquiring knowledge and ideological enlightenment. "
Every painter needs to consider a series of specific and subtle problems, such as the conception of the work, the techniques and techniques in the creation process, and how to innovate and highlight the artistic personality. Chaomei, on the other hand, thinks deeper and more personalized. The DPRK and the United States recorded these thoughts and formed various characters, and obtained the Collection of Aesthetic Trajectory in Painting (Sichuan Fine Arts Publishing House 1988) and Outside Painting (Heilongjiang Fine Arts Publishing House 1998). This is not only a testimony of his diligence, but also a record of his artistic mental journey for most of his life. It is also a record of the birth process of hundreds of his works of art and the most direct and reliable annotation of the author to his own works. To read his prints, we must read his words. As the British scientist Pasteur said, "Only theory can stimulate and carry forward the spirit of invention and creation."
1988 is the 30th anniversary of the birth of Beidahuang prints. In order to record and summarize its achievements and experiences in the past 30 years, Heilongjiang Fine Arts Publishing House published Thirty Years of Great Northern Wilderness Prints (Data Compilation) and Selected Papers of Great Northern Wilderness Prints? Threw it into the wilderness. The specific events in each period are illustrated by the memoirs, creative talks and works comments of the Great Northern Wilderness printmakers and some critics. It objectively and comprehensively reflects the specific situation of Beidahuang printmaking in the past 30 years, and also reflects the concern and discussion of Beidahuang printmaking in the national art theory circle.
1995, due to Mei Cheng's editor-in-chief, The Theory of North Korea and America published by Heilongjiang Fine Arts Publishing House came out. A collection of critical articles written by famous artists at home and abroad, including 7 authors in our province. These words comprehensively discuss Chaomei's creative practice and artistic career from different angles, and are valuable documents for studying Chaomei's printmaking art and the development of the northern wilderness printmaking school represented by him and even the emerging printmaking movement in China.
2009 is the 60th anniversary of the DPRK-US art activities. The retrospective exhibition of Chaomei Art and the launching ceremony of six volumes of Chaomei Art were held in China Art Museum. The Art of Korea is a volume in the Art of Korea, and it is a collection of comments on the art of Korea. The manuscript of this collection was selected and re-edited from the articles published in newspapers and other media for more than ten years on the basis of the Art of Korea published in 1995. It includes articles from Longjiang people such as Yi, Zhao and Chao Yue. On the Art of the DPRK and the United States reviews the artistic career of the DPRK and the United States, which gives us a more comprehensive understanding of the ideals and beliefs, dedication and self-improvement, artistic style, perseverance and artistic achievements of the DPRK and the United States in the past 60 years. At the same time, it also allows us to have a further in-depth understanding of the spiritual essence of Beidahuang printmaking and Beidahuang culture.
Ice Soul and Snow Soul Eulogize Nature-Snow Scene
After "Ice and Snow Landscape" appeared in Yu Zhixue in 1980, art theorists in Heilongjiang enthusiastically introduced it as an art that best embodies the cultural characteristics of northern black soil. These articles have studied and commented on the inheritance and innovation, the relationship between form and spirit, creative methods, artistic characteristics and painting techniques of "ice and snow landscape", which provides theoretical support for the consolidation and development of "ice and snow landscape". Among them, the main articles are Zhang Qiuying, Yi Yuan's new flower-ice and snow landscape painting, the song of northern Xinjiang, the form and spirit of Yu Zhixue's landscape-the system of form and spirit plus personality comment, pen and ink adapting to the times, Dan Qinggui expressing today's feelings, wonderful writing of the ice and snow world, opening a new era, pioneers of ice and snow landscape painting, etc. It has played an important role in creating an artistic brand of "ice and snow landscape".
Zhang Huayu (China Federation of Literary and Art Circles Publishing Company, 1988) edited The Theory of Snow and Ice Landscape Paintings, which contains articles introducing snow and ice landscape paintings at home and abroad, and pays attention to multi-angle interpretation. Among them, there are 8 foreign articles published in newspapers and periodicals of various countries, some of which are short, but they represent a general understanding. There are 8 articles in China, most of which are published for the first time. Yu Zhixue's Techniques of Ice and Snow Landscape Painting is attached to the back of the book, which provides the basic framework of ice and snow landscape painting from both theory and practice.
Hu Dong (People's Fine Arts Publishing House, 199 1), in his book "On the Black and White System of Chinese Painting", thinks that almost all traditional paintings in China are black system style of Chinese painting, and the white system style is the first case after the emergence of ice and snow landscape painting.
The book "Aesthetics of Ice and Snow Art" edited by Yang Zhijing and Zhang (China Publishing House Today 1993) is divided into six chapters, which summarizes the historical materials of ice and snow sculptures, ice and snow landscape paintings and other cold areas. Using the scientific research methods such as sociology of literature and art, culture of art, psychology of literature and art, this paper comprehensively and systematically studies and summarizes the emergence, development law, aesthetic characteristics, creative skills and techniques, and innovative value of ice and snow art from the aesthetic point of view, and predicts the future development trend of ice and snow art.
In 2000, Heilongjiang Fine Arts Publishing House published six collections of artists' essays. Among them, Yu Zhixue's "Snowfield Essays" is a combination of creative discourse and life experience. The article in the book systematically discusses "Mo Yun" and "white light", and regards "ink" and "light" as "the aesthetic connotation of black and white in Chinese painting" as the two most basic performance factors in Chinese painting. "Most of the articles included in this collection are not long. They come straight to the point, get to the point, have personal opinions, have no cliches, and have straightforward language, fresh and smooth. Readers seem to think that the painter is talking to us frankly, so straightforward and frank. Between the lines, there is a passion, that is, the painter's own love for life and artistic career, as well as optimistic and confident mood and positive spirit. " (2)
After 265438+20th century, Lu Ping, as the Secretary General of the Snow and Ice Landscape Painting Research Association, wrote a lot of articles such as Twenty Years of Snow and Ice Painting School, Interview with Yu Zhixue, Complete Works of Famous Painters in China? Contemporary volume? Yu Zhixue publicized and introduced Yu Zhixue's painting and snow landscape theory.
Collect, absorb and innovate new basic theories extensively.
The research on the basic theory of art in Heilongjiang Province began after 1978. With the change of the party's literary policy and the desire of artists and art lovers to understand artistic knowledge, many literary and art workers devote themselves to the research of artistic theory.
The History of Western Painting by Japanese art historian Xiang Liangde and others was translated by Peng Zhengqing and proofread by Zhou Zheng, with 80 pictures (People's Fine Arts Publishing House 198 1).
For readers in China, without any knowledge of Greek mythology and Christian mythology, it would be confusing to appreciate European paintings and sculptures. Wang Guanquan wrote myths and legends in European fine arts in understandable language. This book was written on 1955, serialized in art magazine to 1960, and printed and published by Shanghai People's Fine Arts Publishing House on 1984. The process of reading is the process of enlightening people on Greek mythology and Christian mythology. Exquisite illustrations are an excellent review of western art history. Readers can wander in the long corridor of western oil paintings and sculptures, as if following a detailed guidebook. In 2002, this book was reprinted by Shanghai People's Fine Arts Publishing House, and the original black and white rough paper printing was changed to color coated paper printing. On the basis of the first edition 170 photos, the author added more than 50 impressionist works to the middle of this century, making them more perfect from a historical perspective. During his work in Heilongjiang Artists Association, Wang Guanquan wrote 90,000 words and 58 illustrations of Lu Xun and Fine Arts (Shanghai People's Fine Arts Publishing House 1979). 170,000-word Chronicle of Lu Xun's Fine Arts (People's Fine Arts Publishing House 1979) provides detailed information for studying Lu Xun's contribution to new fine arts.
Articles on the basic theory of fine arts and the classification of painting types include how to realize freedom-also on the essence of art, one of the discussions on emotion-Chinese painting, the characteristics of comic books-the creation of comic books, unreality and fax, and the Chinese painting and realistic tradition from the perspective of Tao Tong's horse painting.
In order to review and study Heilongjiang's artistic creation, theorists in our province have made painstaking efforts, and their contribution is no less than that of artists. These theorists include Wang Guanquan, Zhou Zheng, Meng Lie, Tao Tong, Yang Shiliang, Yang Zhijing, Zhang Hua, Zhang Qiuying, Yu Meicheng, Hu Dongfang and others.
Since 1980s, great progress has been made in the study of basic theory of fine arts in our province. The researchers of basic theory are mostly college teachers, who have become a decisive force in the fine arts theory team in Heilongjiang Province. While teaching, they think deeply, pay attention to theoretical research, compile many teaching materials, and publish a large number of articles in various periodicals and magazines all over the country.
Among them, Talking about Composition (Heilongjiang People's Publishing House 1984), Color Composition (Heilongjiang Fine Arts Publishing House 1998), Modern Form Composition Principle-Foundation of Formal Beauty (Heilongjiang Science and Technology Publishing House 1985) and Architectural Modeling and Decoration edited by Wu Shiyuan. Yu Meicheng, Tian Weiping and Zhang Daxie's murals and their creation (Heilongjiang Fine Arts Publishing House1991); Wu Shiyuan; Basic Modeling, a key textbook in the Ninth Five-Year Plan, edited by Lin Jianqun (Higher Education Press, 2000); Wang's Analysis of Visual Form (Zhejiang University Press, 2007), An Introduction to Gong's Art (China Academy of Fine Arts Press, 2007), etc.
Wang Weifang's Watercolor Talk (Heilongjiang Fine Arts Publishing House, 2006) consists of two parts. The first half is zhanghua, which has collected more than 100,000 words over the years. The second half is correspondence with dozens of artistic predecessors and Taoist friends. "Theoretical research is a weak link in the field of watercolor painting in China", "There are many books on watercolor painting techniques. However, there are few works about it. This book is a rare book in China's watercolor theory works, which contains many extremely precious historical materials. (3)
Yu Meicheng and others' Study on Urban Sculptures, Architectural Murals and Their Space Environment in the New Period is a research project of the National Social Science Fund in the 95 th Five-Year Plan. Contemporary China Urban Sculpture? Architectural Mural (Shanghai Bookstore, 2005) fills the blank of China's mural and modern decorative art theory monograph, and has a wide influence. This book combs the achievements of urban sculpture and architectural murals in China in the new period with rich and informative pictures and fair and pragmatic theoretical attitude, and has high academic and documentary value. Contemporary China Urban Sculpture? Architectural murals are masterpieces that comprehensively reflect the achievements of urban sculpture and architectural murals since China's reform and opening up. The author "selected representative works in various stages of the new period from tens of thousands of urban sculptures and murals in China with an objective eye." What is hidden behind these works is a great deal of professional collection and screening work that is compatible with various artistic schools and styles, so it is enough to establish authority in the field of contemporary China urban sculpture and architectural murals. " (4)
The existence of art design is an innate form of human beings. From the appearance of daily necessities and labor tools in early human life to the continuous evolution of various instruments for production, life and war, it is closely related to design ideas, production and use. Therefore, it has become an indispensable part in the history of human culture to study the development and present situation of art design and the existence and origin of design activities.
Designers in our province not only pay attention to the arrangement and publication of pictures, but also turn their attention to the study of theoretical system. In terms of design theory, he has published books such as Modern Decorative Art edited by Tian Weiping (Heilongjiang Fine Arts Publishing House 1996) and CI- Corporate Image Building edited by Gao Chi (Heilongjiang Fine Arts Publishing House 1999).
On Art History, Tian Weiping's Art History of China (Hunan University Press, 2004); Lin Jianqun's Art History of China —— Appreciation of Classical Art Thoughts and Excellent Works (Harbin Institute of Technology Press, 2003); Master Cheng: From Da? Finch to Duchamp (Renmin University of China Press, 2004); A Concise Course of Chinese and Foreign Art History, edited by Wang and Zhang (Harbin Institute of Technology Press, 2004). In 2007, Liu Yue, harbin university of science and technology, completed the 11th Five-Year Plan research project "Illustration of Mustard Seed Garden". In 2009, the Academy of Fine Arts of Harbin Normal University undertook the research project "Heilongjiang Art History Research" approved by the 11th Five-Year Plan of the National Social Science Fund.
Many of these works are used as teaching materials in colleges and universities. Artists directly participate in theoretical research, which promotes the improvement of their own quality and raises their creative level to a higher level. With the continuous broadening of theorists' horizons, the research field is also developing towards specialization and systematization.
Based on Local Exploration —— National Art
Historical and cultural resources are the blood and foundation of national civilization, the embodiment and cohesion of national spiritual character, and the support and carrier of a country and region's unique cultural form. The protection and utilization of historical and cultural resources has always been a problem of inheriting and developing national and local excellent history and culture, which is directly related to the promotion and inheritance of national spirit and the future development and trend of a country and region.
Heilongjiang has been a multi-ethnic area since ancient times, and the culture and art of different ethnic groups constitute the richness of regional art in Heilongjiang. The study of Heilongjiang fine arts can not be separated from its history and unique national culture. This has attracted the attention of more and more scholars.
Since 2006, Heilongjiang Fine Arts Publishing House has successively published a series of studies on ethnic and folk art in Heilongjiang Basin, including Wang Yizhang's Folk Painting of Hezhe Nationality, Nie's Art of Wadang in Jin Dynasty, and Jin Dynasty Bronze Mirror Decoration. This series of books shows the history, culture, religious beliefs, living customs and living conditions of all ethnic groups in Heilongjiang River Basin, as well as the origin and development of ethnic folk art in Heilongjiang River Basin, which has high research and collection value.
Ji Min's "Research on the Clothing Art of Hezhe, Oroqen and Daur" (Heilongjiang Fine Arts Publishing House, 2007) is a key project of the Tenth Five-Year Plan of the Ministry of Culture in 2003, which is funded by the National Outstanding Minority Book Publishing Fund. Through the research on the historical, national, regional, classified, gender and professional characteristics of the costume culture of the three ethnic minorities, it fills the gap in the research on the costume culture and art of ethnic minorities in China and has important historical value.
The School of Art of Harbin Normal University has accumulated rich experience and made remarkable achievements in inheriting the northern national art and culture. He has successively undertaken four topics, such as "Study on Aesthetic Value and Connotation of Heilongjiang Basin", "Study on Art Development History of Heilongjiang Basin" and "Study on Art History of Minority Nationalities in Heilongjiang Basin". At present, eight monographs have been published, such as A Brief History of Art Development in Heilongjiang Basin and Art History of Minority Nationalities in Heilongjiang Basin (edited by Gao Huimin), and related papers were awarded 16.
Through these lines, we can feel the rhythm of the author's mind and the pulse of the times. On the long road of art, artists in Heilongjiang actively examine and reflect their own cultural spirit from the perspectives of artistic context, artistic aesthetics and artistic forms in mutual dialogue and understanding, which has made great progress in our province's artistic theory. Although some theorists no longer work in Heilongjiang, their influence in the whole country is beyond doubt. Their deep feelings and close cultural ties to Heilongjiang are also important resources and capital for the development of art theory in Heilongjiang.
Creation needs the criticism and guidance of theory, and theory also needs creation to verify and enrich. Only by establishing the relationship between them can we make progress together, and our cause can be by going up one flight of stairs.