The concept of “homeland” is well known to all the people in modern society. Generally speaking it can be divided into two levels: thegeographic one and cultural one. Since Nietzsche gave out the cry “God has died”, the public has employed it from a more culturaland spiritual aspect. This exclamation of Nietzsche is the reflection of severe economic and cultural conflict in capitalistic society.However, to most Chinese, this concept is learned more as a kind of cultural conflict between China and western culture brought aboutby strong and advanced western arm forces. It was the first time in Chinese history that foreign forces inflicted the former intact, solidand unified social framework and cultural form. And Chinese began to question the rationality of our cultural ideal established in ourheart generation after generation. Over last one hundred years, Chinese people have never ceased to employ cultural and artisticway to express our conception and pursuit for an ideal homeland in our fighting against imp　　erialism and feudalism to gain nationalindependence. Nevertheless, the constant domestic chaos and foreign interference made our pursuit to establish an ideal homelandcovered by a strong political and ideolog ical color.

Since nineteen eighties, China has ended the long-term political struggle and close door policy. Social economic life began to come backto right track. Especially since the thorough implementation of market economic mechanism in 1990s, when culture and art tried to getrid of its purpose to serve political struggle and ideological persuasion, again they are influenced and entangled by commercialism. Asfar as art is concerned, in order to get rid of its purpose to serve for political struggle and ideological persuasion, in Chinese art domainthere appears “bruise painting”, “folk painting” and “pop painting” after the Cultural Revolution. Removing the extra burden forced byChina ' s certain time, Chinese art assumed the standers from west, so called the enlight enment and salvation --another foreign factor.This factor played an indispensable role in breaking the previous political superstitious. However, it would finally lead to Utopia due toits too much emphasis on individualism. After 1990, the destruction of the illusory subjective Utopia made by commercialism woulddefinitely lead to the collapse of the Utopia skyscraper and the break of abstract humane value system. So, as the assumed enemy --politic and ideology began to disappear, a new assumed enemy -- commercialism become prevails. In the crevice of this mixing and　　overlapping of disappearance and emergence, Chinese art broke through and took on a complicated contradictory and multiplestructure s . The difficulties are far from those; the further promotion of market economy requires the global operation of the capital. This will surely bind China on the track of unified global economy. The concept of “homeland” is well known to all the people in modernsociety. Generally speaking it can be divided into two levels: the geographic one and cultural one. Since Nietzsche gave out the cry “Godhas died”, the public has employed it from a more cultural and spiritual aspect. This exclamation of Nietzsche is the reflection of severeeconomic and cultural conflict in 　　capitalistic society. However, to most Chinese, this concept is learned more as a kind of cultural conflictbetween China and western culture brought about by strong and advanced western arm forces. It was the first time in Chinese historythat foreign forces inflicted the former intact, solid and unified social framework and cultural form. And Chinese began to question therationality of our cultural ideal established in our heart generation after generation. Over last one hundred years, Chinese people havenever ceased to employ cultural and artistic way to express our conception and pursuit for an ideal homeland in our fighting against　　imperialism and feudalism to gain national independence. Nevertheless, the constant domestic chaos and foreign interference madeour pursuit to establish an ideal homeland covered by a strong political and ideolog ical color.

Since nineteen eighties, China has ended the long-term political struggle and close door policy. Social economic life began to comeback to right track. Especially since the thorough implementationof market economic mechanism in 1990s, when culture andart tried to get rid of its purpose to serve political struggle andideological persuasion, again they are influenced and entangledby commercialism. As far as art is concerned, in order to getrid of its purpose to serve for political struggle and ideologicalpersuasion, in Chinese art domain there appears “bruise painting”,“folk painting” and “pop painting” after the Cultural Revolution.Removing the extra burden forced by China ' s certain time,Chinese art assumed the standers from west, so called theenlight enment and salvation --another foreign factor. This factorplayed an indispensable role in breaking the previous politicalsuperstitious. However, it would finally lead to Utopia due to itstoo much emphasis on individualism. After 1990, the destruction of the illusory subjective Utopia made by commercialism woulddefinitely lead to the collapse of the Utopia skyscraper and thebreak of abstract humane value system. So, as the assumed enemy-- politic and ideology began to disappear, a new assumed enemy-- commercialism become prevails. In the crevice of this mixingand overlapping of disappearance and emergence, Chineseart broke through and took on a complicated contradictoryand multiple structure s . The difficulties are far from those;the further promotion of market economy requires the globaloperation of the capital. Th is will surely bind China on the trackof unified global economy. Naturally, aside from their missionof self-liberation, culture and art take on the role of competeand communicate with other culture. All of these indicate howmany difficulties and problems Chinese culture and art havefaced in the last two decades. In other words, how to properlydeal with the relationship between art and social politic, art andcommercialism, the globalization of art and the localization of artbecome the main tasks need to be addressed by Chinese artists.Facing these three issues each Chinese artist has his or her ownsolution. Such as the Political Pop and Cynical Realism appeared in1990s along with various artistic materials and media used in thefollowing years are all contributed to the effort of Chinese artists who explored the world of art and make constant progress. These threetasks make Chinese artists create and employ a flexible style and finally form the rich, multiple and more open feather of ContemporaryChinese Art. However, there wouldn ' t be such creation without their retrospection of the lost spiritual homeland, their yearn ing for anew homeland and their over absorbed admiration for the perfect model of ancient Greek art.

For more than one decade, Pang Yongjie ' s artistic creation has experienced several stages: contradiction and confusion, looking for asolution and describing the ideal homeland. As early as ten years ago I wrote a comment about him. He had graduated from a universityof fine art and moved to Beijing for several years where experienced drastic changes in art domain at that time. As a young artist, hispaintings showed great concern for the community and the living state of the people engaged in art. In those years, he produced fewworks, but he was always in deep contemplation to analyze and think seriously about various schools and genres. Later the image ofportray with the style of prosperous Tang Dynasty were found more often in his paintings. In the figure moulding and line design, heboldly borrows elements from traditional art form and handles it in a abstract way; in color he uses a highly contracted contrasting colorwhich gradually evolves into a neutro-tone, in the composition of his painting he break and at the same time learns from traditionalcavalier perspective and western focus perspective to emphasize his figures, also he adopt a complanation style and handle thebackground and environment with lucid and vivid strokes that make his paintings as beautiful as poems and songs.

In his painting these obese even exaggerated figures are quiet and happy ; their pleasant mood is beyond words. It seems that themeaning his whole picture conveyed no element of the Chinese contemporary art. Is Pang ' s artistic creation not relevant to thecontemporary art? We can not find his answer to the three tasks facing Chinese contemporary arts mentioned above. Does hedeliberately avoid it or there are some other reasons? Every serious artist would pay great attention to the strategy of his or her artisticexpression. For Pang Yongjie there is no exception. In the following years, he gradually established his own style, which catches a lot ofattention in art domain both from domestic and oversea market. It indicates that there must be some irreplaceable element in his work.But what is it? If we could release ourselves from the complication of Chinese art, to think from an alternative aspect, we will find thatthe three tasks Chinese art has been fac ing are like three huge mountains preventing or impeding the progress of Chinese art. For manyyears how to find the way to overcome them become the imperative object for Chinese artists. To look for and to create the solutioncontains rich pragmatics meaning and value. But the pragmatics that established by Vitegenstan Philosophy cannot replace semanticsitself. They are both indispensable part and people differentiate the two concepts for the convenience of talking and arguing.

To look for, to create and to use the solution to the problems of Chinese contemporary arts could not replace the pursuit for the innerspiritual quality of art. Therefore, to positively and constructively predict the essence of Chinese Art that should be delivered to thepublic, to visualize the rational appeal in traditional culture and to serve the ideal spiritual homeland that delineate and construct aharmonious world between human and nature, human and society are the irreplaceable and instructive element in Pang Yongjie ' swork. The modernization of Chinese art has come a long way since May Fourth Movement and experienced a rapid development inthe last two-decade. It is high time to intentionally construct a contemporary art style with Chinese trait. Pang Yongjie ' s artistic creationalong with other artist ' s far sight endeavor indicate s a good beginning.
 

作者：Gaoling