Plastic Art Development

Plastic art is the production of human creation, so it can not be isolated from natural substances. Material is one of the distinctive features between plastic art and ideology. It is an artistic language used by artists for conveying their aesthetic values, expressing their ideas and emotions, reflecting the social situations. Moreover, it is an important subject of artists'profound study. In the long history of plastic art development, either the simple and crude implements of production or cavern frescos in Stone Age or the current conceptual art is closely associated with materials. Therefore, we can surely say that the history of plastic art is the history of materials.Taoist ideology of Laozi revealed the source, production and components of the universe. All the beings are not only the production of the world, but also its process. The inner spirits of the universe are the drive for producing and developing the world. Tao is the objective laws of the world's production, existence, and development. Corporality makes plastic art a trinity of material, spirits and Tao.Having inherited the visual pattern of occidental traditional arts, and absorbed the essence of the oriental arts and the religious and philosophical ideas, Tapies, the contemporary Spanish substance painter, created a unique art genre which involves the material, spiritual and philosophical aspects and integrates all the arts across the East and the West. From the visual perspective, he, making the most of the diversity and plasticity of materials, presented a model with the great visual wallop, by the use of seemingly Bohemian but true and reasonable techniques in his works. Tapies, on the basis of his own experiences and his concern about human fate, was preoccupied with meditating on the real society and philosophy by means of art. He endeavored to struggle against the oppressive and unfair society with art as a device and the weapon so as to advance human civilization. He also showed his understanding of some philosophical issues such as Tao, mightiness and obscurity, having ways and having no way through the images of emptiness and deformity, in the simple and insignificant materials, by the use of unfettered creation.