Chinese-Western Harmony

Lin Feng Mian, an outstanding representative of Meizhou culture, is a great painter and art educator. He, who headed the Beijing Fine Arts College and Hangzhou Academy of Fine Arts for 13 years, is the founder of Chinese modern art education and the pioneer of Chinese modern painting. He advocates harmonizing Chinese art with Western art, and puts it into practice. In his early years, he went to Europe to study Western Fine Arts culture, theory and painting techniques under the influence of May Forth New Cultural Movement. After returning to China, he dedicated himself to creating new painting theories and techniques in his art works, and revolutionizing art education in China. His contribution to Chinese Fine Arts education is nation-wide recognized. He vigorously implements Cal Yuan Pei's ideology and is determined to promote art revolution. In education, he made a major breakthrough in school policy, which promoted freedom of thought and agreeing to differ. His appreciation of diversity and talent resulted in the formation of brilliant and high standard teaching team consisting of teachers with different painting styles, ideologies, theories and methodologies. In art education practice, he paid attention to excavating students' individuality and cultivating their integrity and social responsibility. His contribution to completing and standardizing the art education system made him the main founder of Chinese modern art education of the 20th century. He has been consistently explored in art, studied in-depthly the origin and nature of Chinese and Western Fine Arts throughout his career. His profound knowledge of the similarity and difference between Chinese art and Western art has laid the necessary theoretical foundation for the fusion of Chinese and Western artistic practice. Independently, he created a lyrical painting style which represented the richness of the times and national characteristics with uniqueness and high personalized touch. By integrating Western art form into Chinese art form, he opened a new chapter for modern Chinese painting, and paved the way for exploration and integration in different art forms, theories, ideologies and methodologies.In the early 1900s, the idea of Chinese-Western Harmony was one of the viewpoints which suggested enriching modern Chinese culture through integration and harmonizing during the heated debate on whether the Eastern culture and Western culture should interact with each other or not. There is no doubt that Chinese-Western Harmony theory can be interpreted differently in different fields. Professor Lin's interpretation shows how Chinese-Western Harmony theory works in the field of Chinese Fine Arts. The purpose of Professor Lin's art theory is to make good use of Eastern and Western cultural essence and the marvelous achievements of human civilization and to let Chinese Fine Arts get rid of the restriction of history. His goal is to help Chinese Fine arts jump out of the box and to catch up with the trend of the times. Ultimately, he looks for successful transformation of Chinese Fine Arts. He found the balance among taking the reference of Western art, preserving Chinese painting traditions and promoting the development of national art. He brought forward Chinese-Western Harmony art theory after his thorough study, analysis and comparison of evolution and development of ancient and modern art history. His aesthetic propositions include Emotional and Intellectual Balance, The Fusion of Eastern and western Art, Art Space Conversion, Personality, National Characters and the Times, and so forth. Those propositions constitute a complete Chinese-Western Harmony art theoretical framework, and create a practical modern Chinese art theory.Professor Lin's art theory is not a simple adaption of Western painting techniques, but a remodeling the spirit of national culture based on reconciling Chinese art with Western art. He rediscovered the East through his art journey to the West. The ideology of Western humanism and modern art helps him to express his humanitarian spirit in his works and come up with Eastern humanism schema which is workable in Eastern culture. Creatively, he reshaped the traditional Chinese folk art with Eastern humanism schema and therefore he created paintings that were full of modern flavor.21st century is the era of economic globalization, cultural integration and nationalism. When East meets West, the interaction between the East and the West in different fields of society can't be avoided. We can't deny that the good and the bad go hand in hand. With good judgment and vision, Professor Lin's art theory is not to let Western ideology take over tradition, or to let nationalism fight against Western centrism. His theory surpasses any kind of oppositions culturally, traditionally or ideologically. He follows the modern trend of 21st century, and truly establishes modern Chinese painting theory that reflects the call of the times, nationalism and personality. As a Whole, Professor Lin's art theory and practice light up a new tunnel for modern Chinese art and revitalize nation's tradition. Professor Lin's Chinese paintings broaden the scope of cultural, traditional, emotional, ideological and imaginational expressions with the touch of Chinese and Western aesthetic integration. He introduced internationalism into Chinese painting and made a great breakthrough in reform and modern development of Chinese painting.The richness and uniqueness of five-thousand-year Chinese cultural heritage will always shine like a star in Eastern sky. Any attempts that aim at transcending the development of traditional culture in order to seek their own development will end in vain. The key theme of the 21st century is globalization. Professor Lin appeals to the call of the times. For someone who is interested in doing research in this field, Professor Lin's theory and practice are the good source of reference. Professor Lin's Chinese-Western Harmony art theory and practice will lead Chinese Fine Arts and art education towards a brighter future.