In the 1930s, he returned to a traditional Chinese ink style, for which he was heavily criticized by Chinese artists who saw traditional painting as a dead end. Ding was also an avid collector of Chinese art. In 1920, he left for Japan to study modern Western art at the Tokyo School of Fine Arts, where he was influenced by the work of Henri Matisse and the Fauves. The landscape is not only a source of national pride that is returning to the forefront of Chinese art after the effects of the Cultural Revolution it is also the serene illusion to which he escapes while painting-his own personal desire.ĭing Yanyong (1902–1978, Maopo village) showed promise in painting and calligraphy from a young age. Wei reconciles the figures and landscape as representations of reality and illusion, respectively. ![]() You must know this.” In this work, hyper-realistic figures are almost jarring against the traditional Chinese landscape on the folding screen. “Young people in China,” he says, “no one knows how to use ink on paper. He is passionate about ink painting, which he sees as a critical element of Chinese identity. ![]() For instance, in Neighbor Girls With Fever a female wearing the blue government tunic appears in a potentially compromising situation. Socialist realism was a major component of his high school art program, even after the death of Mao, but Wei’s art often subverts the Mao-era agenda. He draws from a wide variety of sources, including Ming and Qing landscape painting, socialist realism (the official style of political propaganda under Chairman Mao Zedong), Leonardo da Vinci, Albrecht Dürer, and Jean-Auguste-Dominique Ingres. ![]() Fusion abounds in the art of Wei Dong (b.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |