After his series of works on “Miners” and “Peasants and Workers”, Xu Weixin, who has always been attentive to people’s livelihoods, now concentrates on the series portraits of “Chinese Historical Figures: 1966-1976”. He has painted over sixty portraits when I write this short essay. The subjects he has chosen for his paintings are those who have once lived a very hard life in the latter part of the 20th century. Unlike those of his previous portraits, the subjects in this series of figurative paintings are very different in terms of their place in society. There are ordinary and unfortunate people; and there are powerful people prominent during these ten years. The situation and lot of the former is subject to the intent or impulse of the latter. The former is the devastated individual; the latter the individual destroyer. Between them we see the contrasting concepts of liberty and illiberality; humanity and inhumanity. Thirty years on, the artist replays history with a note of rationality and allows the subjects’ images, as presented, to await a reckoning. Historical reflection is the most valuable and commendable attribute of contemporary art in China. It is valuable because of its rarity. In the 1980’s, “Scar Painting” left an indelible imprint on the history of Chinese art. However, its transient existence resembles a shooting star flying through the murky sky. Since then, Chinese art became oblivious. All that happened disappeared in the mist of forgetfulness. People indulged themselves in materialistic exhilaration. Triviality became the hallmark of human nature. Vociferous cynicism marked the vicissitudes of life. Against this backdrop, Xu’s new artwork is a breakthrough to the forgotten mists and recalls thoughts on humanity. This series of figurative painting reminds us – oblivion is not the same as nonexistence. “Chinese Historical Figures: 1966-1976” is not a general genre of portraiture. Its value lies not in the individual affection and personality it represents, but in a series of laden historical questions it raises. Considering our attitude towards historical issues, the raising of questions is itself a challenge to reality. This series of portraits is, in fact, an artistic expression between the painting and the conceptual art form. Xu’s artistic concept begins with the choice, the composition and the reminded recognition of the subjects. It has already been a profound artistic concept for the artist to create the subject name list that shows transparently diverse figures. Painting these images calmly with a unifying tone and size has, of itself, been a significant historical, visionary, artistic act. We can also envisage the exhibition where these portrait paintings are juxtaposed in the same space and simultaneously share the same spotlights… Presenting their image anew, the artist just plucks the first string of an intricate historical melody. The actual music will start to play following the exhibition of these artworks. Being one amongst the audience who literally witness some of these artworks in progress, I’ve thought about the very different historical identities of these figures. They were ordinary people; they existed as parents or children; they, in a very special period of time in Chinese history, voluntarily or involuntarily played the social roles and existed as historical tragic figures. Guo Shiying* is one of the images. Being brought up in a gracious family, in an environment remote from most people at his age, Guo was a university student who desperately pursued knowledge. He clung to an anti-revolutionary stance and chose to become an “anti-revolutionist” by putting an end to his life. He was in the center of a mainstream society and was a sober, defiance-conscious Chinese youth. To Guo Shiying and other sufferers, the reason for them to sacrifice themselves and the form in which they chose to suffer, is “instinctive”. According to Hannah Arendt, eliminating individual identity through the deprivation of an individual’s privilege, freedom, moral existence and, finally, their individuality and the relevant memory, is the basic action and the ultimate goal for a totalitarian regime. What Xu does is to restore the individuals’ existence in an historical sense and represent that solid image and spirit in all of its variety. For the audience, it provides a different experience to the other portraits allowing for the progression of personal perception and affection. Xu’s figurative paintings drag the audience back to the historical scene which took place not that long ago even although it felt like it was cut off from the outside world for an aeon. Understanding these artworks requires an appropriate knowledge of history, an amalgam of affectionate memory, a recognition of a commonly shared humanity, and an insight for the way in which history evolved. The strength of “Chinese Historical Figures” lies not in its visual exhilaration, nor in its sophisticated painting techniques or in its style or creative painting language. It lies instead in its historical reflection that is an imperative to the contemporary Chinese audience, although it is not lighthearted. The emergence of modern imaging technologies has, on the one hand, presented unprecedented challenges to the conventional painter especially for the portrait painter, but, on the other hand, put forward exceptional opportunities. Many artists have closely tied photography with painting to develop a new cultural form. Xu’s figurative paintings rely heavily on photographs, but this does not impair his powerful spiritual expression. A few decades ago, John Walker concluded in his “Portraits: 5000 Years” that in the future (the year 2000), portrait artists would make use of an even greater amount of modern imaging technologies such as pictures, photography, recordings and so on, which have created an innovative and revolutionary opportunity for the portrait artist. A brand new form of portrait is foreseeable. He projected that in the 21st century figurative art would progress in a fascinating and amazing way. Indeed, I think Xu Weixin’s “Chinese Historical Figures: 1966-1976” denotes “progression in an amazing way”, although it is difficult for it to be recognized as “fascinating”. * Guo Shiying was the son of Guo Moruo, who is a famous Chinese writer and scholar. While studying at Beijing Agricultural University, Guo Shiying once said that Mao’s thought should be divided into two, and the “eight model plays” surely could be improved. His arrest, however, was associated directly with an espionage conspiracy that he was said to have been involved when he was heard talking in English with his girlfriend over the phone. Guo Shiying jumped out of a window from a building where he was kept on April 22, 1968. Guo Minying, another son of Guo Moruo, also took his own life in 1968 when he studied at the conservatory.

来源：雅昌艺术网 作者：水天中(Research,Fellow,of,China