| FangJizhong, one of the most important Shaanxi painters of the20th century, is also the key member and inherit person of the "Chang’an Painting School". The forty-year of artistic career seems short for an artist who became famous in a rather old age, but those forty years were also a period when some of the most loved paintings and theoretical experience are created.The course of his bird and flower painting creation can be divided into three stages, the first stage is using the "Chang’ an School" artistic spirit and creative approach as guidance of learning and exploration of bird and flower painting. Copying other paintings and experiencing life in-depth laid the basis for the formation of artistic consciousness. The second phase of the late1960s to the late1970s is a special historical period independent thinking about bird and flower paintings. During the " Cultural Revolution" he had stopped painting for four years and decentralize on rural labor reform, take introspection of life and self with no "Chang School" sense of community. As an individual artist, his paintings went through earth-shaking changes. The third phase after the "Cultural Revolution" to the1980s he continued to change. After undergoing major changes in his life, due to their own reasons, facing disaster is different among different people, some people will resist collapse, but as modest ad FangJizhong, he used disaster as a mirror of his inner soul, and that’s the main reason for his art to rise to a higher level.FangJizhong suggests that the most valuable art lies in the spirit of innovation, such innovation is not only now monomer composition, ink, or the theme of innovation, but to truly realize the vision of development to innovate all the time to get rid of the original in the form of restrictions, which can be seen in the later years of his work. Mentioned in his " Tan Yi Lu " about thoughts on the future of art, he answered:"One must distance the’ Chang’an Painting School’. Secondly, one’s life must be distant from the prototype. Thirdly, we must distance ourselves from contemporary painting stream. Fourth, we must return back to life, understand life, return to tradition and traditional knowledge (especially the folk tradition). Fifth, get rid of the old tone of pastoral poetry and painting style, creating a new a new era. Sixth, continue to abandon yourself, but also reshape at the same time." Through these six points, it can be seen that in the later stages of Fang’s artistic career, he distanced himself from the "Chang’an School" intentionally because of historical reasons, and he tried to replace the "verbal and slogan-like" art with folk art. When talking about distance oneself from the prototype, he said that, why other people paint paintings, but I painted life? Its value for the following ink on this understanding, considering the "and not" between these two aspects based on the prototype of life give not more ink play space, this is an artist in the artistic spirit of a kind of pursuit of "YiPin".A study of Fang’s flower and bird painting has a significant meaning. He focuses on theoretical understanding and artistic tradition. He insists that art comes from real life, and plays a role of reflecting the times it is in. Contemporary artists should learn from those good characters, and it means a lot for the future development of the flower and bird paintings. |
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