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The filling of the over stuff

  Public aesthetic is always changing with time. Today ' s stander would become outdated in the future. When I was a little boy, young man in green army uniform and green hat were considered most fashionable. But now that image is out of date. This drastic change in trend make s us realize that how much our perception would change with time passes by.

  Appreciating Pang Yongjie ' s work always reminds me of the past not only because his work is abstract and he absorbs much enjoyable element from traditional Chinese intellectual painting but also because in the moulding of the figures he adopt the style of portray in prosperous Tang Dynasty. I am not sure this is his conscious pursuit. What I know is as a contemporary artist Pang Yongjie ' s character is quite different from that of other bold vanguard artists. He is quiet. We always say that character determines destiny. In fact, character determines inclination and inclination determines our understanding and pursuit of the fate. Introverted people incline to indulge themselves in the past and like to seek the truth from history. Therefore his character determines his choice. However, I am not here todiscuss his character but to analyze his art now, ever though his character plays a vital role in deciding his style. When we appreciate a painting what we pay most attention to is the idea it delivered and   the relationship between the idea and art or social history.

  As I mentioned above, Pang Yongjie ' s style is similar to that of portray of Tang dynasty, Then first we should familiar ourselves with the feature and background of portray in Tang dynasty. It is well known that Tang is the most prosperous dynasty in Chinese history not only because it again regain unification and became a powerful country, in particular Tang ' s openness brought about unprecedented prosperity.

  In some degree, the concept of “the Whole world” originated from Han dynasty is truly accomplished in Tang dynasty. These greatnessor generosity in mind definitely influenced the aesthetic psychology of that time. Not mention the great air of Tang poems but to examine the paintings of that time, we have never been so free in other stages of Chinese history including now. From those still existingportray of Tang we can tell the differences such as women began to show up the upper part of their chest. All these delivered an airof freedom, especially the admiration for the obese woman; obesity became the stander for beauty. That was quite different from themelancholy and poor image in the artistic works created in other dynasty and showed the richness and prosperity of that great time.

  Since South Song Dynasty, the power of the country began to decline. The Prosperity of Han and Tang had no longer existed. This greatlose make Han and Tang a symbol of the lost brilliant time and object for the latter intellectual to recall again and again. This is theso-called admiration for Han Tang. In Chinese history there are several renaissances that pursue this kind of admiration for Han Tangincluding May Fourth Movement, eventhough science and democracy concept is learned from western culture, but behind the effortto save the country contains the yearn to regain the power and become a powerful country like Han Tang. In fact in 1980s“pop fine art” appears under the banner of freedom which aims at establish new style also contains this admiration for Han Tang. The most typicalexample is the concept of “great soul” put forward by Lixianting. This concept theoretically was based on the manner of Han Tang and became the value back up of “pop fine art” which directly contributed to the prosperity of 1980 ' s artistic school.

  Pang Yongjie ' s art reviews this prosperous background and the spirit is derived from 1980 ' s. Just as in his exploration in form he combines the enjoyable element in Chinese culture and the expression of western culture with apparent feather of the art in 1980 ' s.This conscious exploration in form is just the distinguished hallmark of contemporary art that begin to establish its own rules and independent from the previous literature delineate style. “The pop fine art” of 1980 ' s borrowed elements from western art which experimented on various new form s and through these experiment s the pop fine art was able to get rid of the bind of politic and stepped on the road of independent aesthetic culture.

  Pang Yongjie was born at the end of 1960 ' . He was a student in 1980 ' . Even though as a student he did not participate in the culture movement himself but living in that society he was deeply influenced by what he constantly see and hear. I also know many of his friends most of them are pop artists that were quite active in 1980 ' s. From this we can tell that Pang Yongjie is deeply involved in that time. His relationship with the past brings his work some air of retrospection that distinguishes him from 1990 ' s social critical flow and establishes a cultural retrospective style.

  In 1990 ' s the Chinese contemporary art style is quite different from that of 1980 ' s. Firstly it turns to sociology that aim s at strengthening the function of critical realism, readjusting the relationship between art and society. Secondly, it escapes from the pursuitof lofty. This escape turned the previous culture construction into social order destruction, which leads to the prevalence of Hippy andloquacious people. In this culture whirls Pang Yongjie ' s character made him unable to accept this culture reality. That why he was confused and upset at that time. We can see the trace of this mood from his early works whose color was darkish, strokes were less clear. From those works we can tell that Pang Yongjie wished to surpass that time but cannot see the bright prospect.

  Pang Yongjie ' s artistic maturity came around 2000. Just at the beginning of the new century he reached the age of thirty at which oneshould establish oneself in Chinese culture. It seemed that the atmosphere of the new century brough t him an opportunity to reopen himself and release the idea repressed for a long time. At this turning point his art gradually removed some upset mood and becomelucid and powerful. At the same time he borrowed the above-mentioned figure portray style of Tang dynasty and abstracted it intobeautiful pleasant fable. His self-recognition hallmarks his maturity in art. He has grow n out of the influence of 1980 ' s and step furtherinto the depth of history.

  This is no doubt a new turning point for him when he is able to open his heart. What he has learned is not only an open mind but alsoa brand new historic rediscovery-- the so called the admiration for Han and Tang. Just because he captured this fascinating theme at this crucial moment of his life makes his art contain some spiritual pleasure and mind--provoking element under the exaggeratedartistic form. Only after bring in the spiritual content his art transformed from over stuff into a spiritual clue that lead us to recall the lostmanner of Han Tang in accord with our dream to become a powerful nation again.

作者:Yangwei

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