Artists such as Gao Xiaohua,Cheng Conglin marks the coming of new period of oil painting

Artists such as Gao Xiaohua,Cheng Conglin marks the coming of new period of oil painting

This is highly critical consciousness and the creation of the sad mood, both show that the formation of a different cultural revolution art creation mode, also marks the sichuan art the rise of “scar art”. In fact, the “scar” art has presented two kinds of state: a class is a delegate with Gao Xiaohua, Cheng Conglin “reflection of the cultural revolution”; Another kind is a delegate with wang chuan, He Duoling “educated youth”. The former focuses on the “cultural revolution” reflection, restore historical truth, call humanitarian spirit; The latter strengthen personal perspective, loyal to the inner experience of self, narration educated youth “collective memory” of The Times. However, it is precisely these two creative ways of Chinese contemporary art history in the 80 s have played an important role in the future.
Although the “scar art” criticism and the performance only in limited theme of “reflection”, but it is “educated youth” theme of this batch of late for sichuan oil painting from the “scar” to “native painting” took a key step. “Local painting” is, in other words, on the basis of the “educated youth story” evolved naturally, because most of the vernacular painting works to educated youth experience rural life as the background, the difference is that “educated youth story” has a unique individual perspective and internal “sad”, the artist behind the attention to youth themselves and the performance of the hidden criticism of the “cultural revolution”; Although “native painting” also is the countryside, but the emotions of the artist did not have the “sad” rural here also have no reflect on the meaning of the cultural revolution, on the contrary, the artist depiction of the countryside, reflect more as a kind of simple humanitarian concern and local cultural features that are characteristic of modernity.
“Educated youth story” to “native painting” embodied in luo zhongli creation of “father” (1980). “Father” is the product of the artist educated youth life experience, the “father” image in the painting as a microcosm of the era of China’s farming, luo zhongli is in line with “I want to say is to give farmers the truth”, “I want to scream” for them, “I suddenly felt my speak out all the thoughts and emotions” plain humanitarian care, give “father” in the most real emotion, the emotion of different cultural revolution era of heroes and the enthusiasm of the leader, but the close of the respect and affirmation of the experience of real life and daily. “Father” a painting not only realized the sichuan oil painting from “educated youth” theme to the transition of “native oil painting“, but also completed the “scar” critical realism to local realism


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