It is classical and modern – review of PangMaoKun of oil painting art

It is classical and modern – review of PangMaoKun of oil painting art

I note PangMaoKun paintings have been around for years. The biggest characteristic of his works is for the attention of people, people face, in the face of the portrait, the people’s spiritual world, and it is the artist’s feelings and the spiritual world of object communication. This determines the characters in his works is not only the object exist independently, and by painters perception, concept and the object of the emotional.
We can feel his focus on static spirit. This spirit of static, or from the object itself, or from the body of the artist to create, even from the object itself, is also due to the “discovery” of painters. PangMaoKun advocate the creation of classical law, he should think painter in reveal natural landscape at the same time, the relationship between them become compact, no place order in the original introduction of order and impose unity of the spirit of the diversity of natural objects. He choices according to this principle, the detail, the organization around the characters and the existence of the natural environment. As for the character itself comply with temperate classical principles – high delivery and contain some kind of indifference. This is the noble spirit of classical, rather than on the surface of the classical appearance. To achieve this kind of classic spirit, the creator requires a level of sensitive “spirit” and “very state of mind,” but so, in order to achieve the lofty realm, to work for a particular purpose. This is PangMaoKun emphasized the artist’s “unconscious” passion and inspiration.
PangMaoKun insist mainly from European classical tradition of classical painting style, of course do not belong to the “trendy”. But he closely watched the thinking and practice of their peers, that artistic language modernization, should always is a question of art ontology. He laid special stress on the characteristics of the painting language, it seems that those radical ideas as its frame of reference of artistic pursuit. His eyes on the art itself. PangMaoKun the creation of classical painting style from the south, north and classical painting style from afar, his painting style more see philosophical, there is a kind of sad mood. So-called more philosophical, said that the works of the metaphysical PangMaoKun taste thick, more subjective, namely to in the combination of subject and object, emphasize an idea.
In front of the figure painting his elegantly, we see the character and environment under a state of calm, solemn, however, experience oil painting reproductions is a kind of difficult to indescribable sorrow and grief. In a busy world, when we appreciate the PangMaoKun format, can get some mental comfort, but that is just a temporary satisfaction, it’s just dream. However, even if it is full of vitality of the men and women, and every one of us, it not very short in the universe “phenomenon” and “being”? The sadness of this is the male and female custom ol painting characters, or a painter from the form and thinking of an inner emotions? If in PangMaoKun own words to explain – painter “inner real and objective truth is the same truth”, then we deeply experience the infatuated with western classical civilization, and very much interested in Chinese ancient zhuang zi’s philosophy of young artist, in the complicated deep thinking of China’s great cultural environment.
PangMaoKun, for his artistic language is classical, but contains the spirit of the modern. If these paintings, his understanding to customs, it is a misunderstanding. I often think, a fine art, if only for people to get the satisfaction of visual aesthetic feeling, it is not enough. It should inspire people’s thinking. Young PangMaoKun, let him in the art of bumpy road, always keep a clear and rational mind, move toward a higher goal

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