In the worldwide modernism art movement the expressionism painting was a cogent art form to castigate the increasingly serious and pungent contradiction between the system of capitalist economy and the consciousness of human spirit. Since it appeared, it has been regarded by numerous artists as an absolutely necessary means to accomplish individual life journey and they utter an uncompromised battle cry that refuse to surrender to money worship and gastronomy consciousness and scrupulously abide by the spirit superiority.

Since 1980s, the mind provoking visual aesthetic effect was achieved by the non-dimensional perspective and the integrity and carefulness of the composition of the picture, bold and direct expression of ones mind, together with the texture and color rhyme adopted by expressionism painting. Until now it still influence numerous Chinese artists who pursuit freedom and individual expression, they consciously undertake the task of cultural criticism and social cultural life that surpass complanation. While the society undergone economic revolution and our culture experience new transformation, the expressionism painting has become a hot topic in Chinese Art domain in these years. This indicates that in China there exist an increasingly powerful troop of artists who are very sensitive and concern about our living environment, the change of the time, and our values and spiritual ideals.

In these canvas series created by young artist Pangyongjie in the later half of this year, his first experience as a father was not his main theme. He puts more emphasis on the problems that would never been solved by our human beings such as to be or not to be, pain and sorrow, soul and body rather than the problems such as economy dominating social life, increasing graveness of commercialism of culture, people living in modern society be bind and suppressed by the new totem -- science and technology thus gradually losing our personality in front of public. In his paintings his slightly course style of drawing could by no means impedes his courtesy call for the heart-breaking whoop by the desperate spirit who looks like newborn-babies but faces severe survival pressure and is nearly licked up. Black—as the symbol of science and technology together with practicalism weave into the girding lines that deprive the freedom of the newborn-baby. Under its hard and cold body is a sensible life that full of spiritualism and enthusiasm. This image of battle cry reminds us the unforgettable picture by MengKe. From the perspective of art self-discipline someone may think that this group of Pang’s works adds too much element not closely related to art and Pang catharsis his own survival experience and mood too directly without taking into account of the establishment of the individual style of canvas language. However, when we criticize the canvas language (including other art form) in particular expressive canvas language should be localized we could not deny that the choice of the expressive canvas language itself contains the objective meaning oflocalization. Art, as the essence of literae humaniores, as a resort to surpass the outside restriction of life and to pursuit individual freedom, is always closely related to its time and background. After natural science increasingly takes on the role of “the first productivity” in our society, social science (including politics, economics, law etc.) become the popular subject due to their practical nature. While literae humaniores (including literature, history, philosophy and art) gradually lose its glamour, just at this time many young artists favored expressionism painting due to its characteristic of direct expression and social criticism. Obviously the emergence of expressionism painting conveys double meanings and functions. Fortunately, Pangyongjie becomes a member of expressionism painter.

1995/11/30 Beijing

作者：Gaoling