Xue Chen Language Painting -- My Review of Chinese Painters

Author: Zhang Yu
Publisher:
Publish Date: 2002-11-01
Features: In the book Snow Dust and Paintings, Zhang Yu discusses Huang Yongyu in a section of notes. Compared to Huang Yongyu's works in painting, oil painting, printmaking, and sculpture, his profound written works (thought notes) have established his position in contemporary art history—"a rather clever rogue." Compared to his paintings, his prose is indeed outstanding, as Zhang Yu states: the clever Huang Yongyu possesses the power of wisdom, and his speech Painting and Literature delivered on the millennium lecture platform of Yuelu Academy is more impressive than most of his paintings. To say this is not to belittle Huang Yongyu's artistic achievements; at least, it reveals a phenomenon—the literary cultivation of an artist can enhance his reputation. In contrast is the "Cui Zifan phenomenon": Cui Zifan, a man of military background, was not a man of great learning, not even "one car" of knowledge, but this simple old "revolutionary" pushed the bold, crude, simple, and minimalist style of flower-and-bird paintings by Wu Changshuo and Qi Baishi one step further (although due to his lack of learning, Cui Zifan's flower-and-bird paintings often appeared simplistic while striving for simplicity). The reason lies in Cui Zifan's military career, which nurtured his courage and wisdom in tackling challenges and his ability to grasp the overall composition of a painting. Additionally, his early rural life experience and later identity as an artist converged, ultimately resulting in Cui's flower-and-bird paintings that used ink and color to the fullest while employing extremely simple compositions with decorative effects. In the contemporary discussions—both praise and criticism—about the "Cui Zifan phenomenon," Zhang Yu's brief remarks reveal why Cui Zifan became the "cart-pusher" in the "" (a metaphor for the era following Qi Baishi's mastery). Snow Dust and Paintings, though composed of short chapters and notes, is disorganized in its classification of artists, though some sections follow certain patterns, such as the "examination" of new literary painters and the "formation" of Shaanxi painters. It also reflects Zhang Yu's (spontaneity), adhering to the traditional style of notes, especially within limited textual space, where he intersperses many anecdotes and personal backgrounds of painters, enhancing the readability of the text. Of course, the book is not without flaws—some passages are not as brilliant as others, as seen in the group of notes on his Shaanxi painter contemporaries, which demonstrates his "far-reaching yet close connections" () and "mediocrity" (). Nevertheless, it remains a rare gem of the time, offering a satisfying, eye-opening, and enjoyable reading experience.