江屹展出作品 JiangYi Art work
" Chinese 8 masters of contemporary prose": Lin Qingxuan
Lin Qingxuan is known as "Chinese 8 great contemporary prose writers and famous writers". He was born in 1952 in Taiwan, China. In 1979, he won the "China Times" Literature Award National Literature Art Award in1985. His works are connected with his philosophy of life in Buddhism and Life Sciences, and his liteature strongly influence the on Chinese mainland and Taiwan is very great. His representative works are “ten books of Bodhi”,“pure lotus” ,“peach blossom heart wood” , “life make-up”, “body and mind settle down”, etc.
Lin Qingxuan meets Jiang Yi
Lin Qingxuan seldom comments on artists. In the 1990s, he met with the works of Jiang Yi, an Chinese artist who based in Japan. He became a resonance of Jiang Yi's works and appreciated Jiang Yi's concept. Perhaps Jiang Yi's Ph.D. in physics and his deep understanding and integration of traditional Chinese ink painting and calligraphy make Lin Qingxuan’s heart which deep in life science and Buddhism moving. Mr. Lin Qingxuan died in 2019. He is known as one of the eight great contemporary prose writers in China. Here he shares his essays on Jiang Yi's art works.
Jiang Yi: Da Vinci in the East
Jiang Yi, born in China, was sent by the Ministry of higher education of China to study physics in the 1980s dispatch to Japan, and obtained his Ph.D. in physics. He is the first doctoral dissertation on penetration in the world. His research was published in the United States, which can be said to be a very talent physicist. Jiang Yi's father loves calligraphy. Naturally, he loves art very much. His artistic talent is not covered by physics, but fused together. The curator and collector of the Japanese and Chinese Art Museum has found new possibilities for Oriental Art in this regard.
In the 1980s, Jiang Yi's works combined his physical background with Chinese ink painting and calligraphy to analyze the mysteries of Chinese ink painting in the way of dimensional mathematics and fractal mathematics. Japan has become the first Chinese cross-border artist. In 1992, he was invited to participate in the most important Asian contemporary art exhibition in the history of Japanese Art:” a journey of Asian Contemporary Art ”held in Saitama Modern Art Museum in Japan. Wu Dongxing, chairman of Xinguang Mitsukoshi department store, and Mr. Hou Bowen of houzhengting culture and education public welfare foundation summarized Jiang Yi's works in 1993 in Chinese abstract art represented by Zhao Wuji. There are 14 artists including Zhu Dequn, Zhao Wuji and so on. Jiang Yi is the youngest. In 1995, he won the special award of Qianye Art Museum, and his sculpture works were permanently collected by Qianye Art Museum. So far, he has held individual exhibitions in Los Angeles, Washington, DC, France and other countries.
In the exhibition at the China Art Museum in 2015, Chinese TV reporters reported that JiangYi "Da Vinci in the East".
赵无极作品 ZhaoWuJi art work
朱德群作品 ZhuDeQun art work
江屹作品 JiangYi art work
他强调： “传统的意义在于它能让人登上一个新的阶梯。” “应该在更高的层次上看中国画，画中国画，不能自己将自己的手脚捆起来。” “我想在极端物理意义上找到一种潜在的意识和感情，让物质和精神在高的层次上得到沟通。”
江屹在北京工作室 Jiang Yi Art studio in Beijing
Famous litterateur Lin Qingxuan:"Ghost sword, God brush : JiangYi"
"Ghost sword · God brush · Jiang Yi" -- Lin Qingxuan
1. "I'd rather have a little bit of a flash in my work than a low level of integrity."
When I first saw Jiang Yi's painting, I felt an inexplicable shock. It's hard to explain that it was a Chinese ink painting. Although the ink was incisive, it felt very oil painting. In the heavily stained ink and wash, the theme emerged in the water of Chuanyun belt.
My friend told me that many of Jiang Yi's paintings start from the back, because they start from the back. The whole painting expresses a sense of massiness and magnificence, which is quite different from the lightness and elegance of ordinary ink and wash.
What's more shocking is that Jiang Yi's paintings are both concrete and abstract, with the mixture of freehand brushwork and realism, and the shuttle between lines and immersion, which is full of infinite freedom. He has almost no restrictions on his techniques, which makes his paintings have a kind of beauty of freedom and beauty. I think of a paragraph he wrote in his essay on painting: "it takes courage to constantly deny yourself. This kind of courage is not man-made, but naturally emerges according to the quality of the author. Courage and recklessness are not the same thing after all." Looking at Jiang Yi's ink painting, we can really feel his brave and innovative quality.
In the past, our impression of Chinese ink painting has been fixed for a long time. Ink painting is nothing more than the artistic conception of paying attention to spirit, or leaving a lot of blank space, or being meticulous, especially after the popularity of literati painting in the Song Dynasty. However, Jiang Yi's paintings are full of uncertain factors. They are changeable and flexible. The feeling is indescribable. It's like a naughty child playing ink painting with a catapult. It's frightening.
Reading Jiang Yi's works, I also feel great interest in him, as he said in his self narration: " at the end, art is the competition of talent of the artist, experience, training. Actually techniques are not so important, the same as fart is also fragrant."
2. "If a painter can draw, he must be able to draw Chinese painting, Oil painting and sculpture. Of course, everything is not necessarily high level. If Picasso is allowed to draw Chinese paintings, he will certainly be able to draw very well. "
As an artist and a doctor of mathematics and physics, Jiang Yi basically believes that art and science are interlinked, and art is also interlinked at a high level. Only when an artist fully grasps the basis of this commonness can he talk about the differences between them.
In his opinion, some very simple Chinese paintings are also a simple, general and thoughtful sketch. Because sketch is people's view of things and a manifestation of the world outlook, he thinks it is ridiculous that some people think that there is no sketch in Chinese painting.
He thinks that the principle of scattered perspective is similar to that of Cubism; freehand brushwork is expressionism and fauvism; artistic conception is symbolism; meticulous painting is neoclassicism...
"The significance of tradition is that it takes people up a new ladder," he stressed "We should look at Chinese painting at a higher level. We should not tie our hands and feet together when painting Chinese painting." "I want to find a kind of potential consciousness and emotion in the extreme physical sense, so that the material and the spirit can be communicated at a high level."
Therefore, Jiang Yi's art can be said to be the result of some resonance, some stimulation, some excavation and even some kind of collision, but the surface form is not so important. What he wants to grasp is essence, just as if grasping a person's cell contains the same structure of human body. "As long as a Chinese artist grasps this essence, he doesn't have to overemphasize tradition or emphasize that he is Chinese," said Jiang Yi.
3."No line can be called a failure, as long as it can express the author's feelings in an appropriate position, it is good."
I was deeply moved to see Jiang Yi's ink painting, because I haven't seen such a vigorous ink painting for a long time.
I think that the creation of art should be for the development of people's spiritual space, so the freedom of art should be more important than the norms. Once the norms of art are greater than the freedom, people's mind will be imprisoned.
Especially in our times, a new emotional expectation, especially need to make a breakthrough in art, to give some space for thinking and imagination. To be an artist who always hopes to be innovative, Jiang Yi's Gost Sword and God Brush is worth looking forward to.
Jiang Yi exhibiiton in China DAMEI Art Museum 中国达美美术馆江屹个展海报