Interview recorded in 2004

 Indexed :2007 -09-18 22:53:05
artists in the twenty-first century Chinese painting and Western painting have been very few people talk about integration and how to transform this alien oil painting of the problem. In a hundred years of evolution, China Oil Painting oil painting has come out of the bottleneck state. During the many paintings deal with the vocabulary of shapes and colors in this oriental country has been tolerant of them, it has been a symbol of India's Northern and Southern Dynasties, like Buddhist culture, Chinese culture has been evolving into a cornerstone of the pyramid. In China, oil painting (the world) in the primary stages of maturity, resulting in a number of personal language with a clear and unique style of the artist. If I find an example, oil painter Ai Xuan is one of them.
snowy cool wind Ai Xuan scratch Interview
Time: November 6, 2004 PM 3:00
Interviewer: Han Weihua
Location: Spring Garden, Chaoyang District, Beijing Ai Xuan Studio
Korea: Reading the works of Ai who always give a cold, lonely, ethereal images, this is reminiscent of ancient Chinese poet Li Yu made with the artist Ni Zan's environment. reality, and when Mr. When the oil paintings have created such a situation, in intentionally or unintentionally reached a coincide with the ancients? and aesthetic context of Chinese painting reach resonance?
Ai: Yes. because I grew to like painting, With the interest in clinical practice at that time, drew a large number of exercises. Later, when started to learn Western painting, but also often go to painting, but the real feeling of the painting when there are very strong in New York. New York contemporary art flourished everywhere arts-related exhibitions and museums. gives a dazzling feeling. not sure what I was a state of sudden initiation want to see painting experience. in the U.S. I think some of the Asian Arts Center painting. was feeling This is something which expressed a very quiet, very elegant, very ethereal, quiet or silent. especially the Ni Yunlin work, there is the Metropolitan Museum. Ni Yunlin small brush painting, picture handling aside large areas of blank . that feeling is especially over time. It gives you the feeling is very elegant, very wide coverage, particularly in amplifier culture, I like this kind of thing, so I started slowly adding such a large area gap, but also In the wish to find that feeling. indifferent to such a composition is and the mood of my work in the pursuit of a relationship, that is loneliness. the kind of helpless human nature, can not grasp the feeling of destiny. I think in this particular painting technique I can embody this feeling.
when I was painting this subject in Tibet, when the creative direction is clear, I almost did not draw the summer, autumn and winter are the paintings. Only the fall and winter to find that feeling . very empty, very ethereal, desolate feeling. I think in this environment, the face of such natural and such a person, and this relationship, their own sense of soul can be released. back to town, seize to live this feeling, but also on the canvas in the studio to continue this release.
why I go to choose to study this subject, but also that it is not clear. This is an interest in their. rather than deliberate to organize these things. Initially, I was not painting such works, but the painting style painting on the prairie, there is the breath of life genre painting. painted were painted to feel their concerns have changed, and not my own deliberately said that painting genre painting, custom painting how popular, that would be is not what I mean. particularly interesting is slowly on its side wanted to go in this direction. so he started looking for this feeling, which often sit in the wilderness of view, distant horizon, in front of people. so to observe, and then return for a long time to go, or the horizon, it is so desolate wilderness on a man go. naturally you will feel the harsh nature. produce Thinking of themselves. who originally and grass, as its existence is particularly vulnerable, and small, and it is very temporary. Human beings are very temporary things, and he dies constantly, like, like weeds, dead winter, next year President out of it. who is the same, but he extended it some time. But here is a bit of relatively pessimistic mood. the so-called short and helpless life experience, as well as the insignificance of human power and a variety of all sorts of emotions in it. So I think you mentioned earlier, the pair is in the east can be found on some of the corresponding expression, especially in Chinese painting. But what kind of picture of Chinese painting to be divided, if it is This painting then and I here are two different things. Personally I like this picture, it was the performance of the Song Dynasty style scenes of life and reproduction. but I picture the kind of conception of the pursuit or Ni Yunlin subtle ethereal beauty.