There are relatively stable rules and norms in Chinese painting, and the establishment of these rules and norms helps painters to enter this art world with unparalleled space for exploration. However, the rules and norms of the brush and ink system do not require the painter to adhere to the established rules, but allow and encourage them to explore and innovate, and must use the past to open up the present. Throughout the history of painting, those who become masters from a new perspective must be able to study the bloody battles between the ancients and the spirit of The Times in terms of their artistic evolution.
Liu Jude, born in 1946, is Mongolian ethnicity. In 1970, he graduated from The Central Academy of Arts and Crafts. In 1973, he was appointed art editor of Yunnan Fine Arts Publishing House. In 1978, he was admitted to the graduate school to study the comparison between Traditional Chinese decorative arts and western modern art. He used to be the deputy dean and chairman of the Academic Committee of the Academy of Fine Arts of Tsinghua University. He is now a professor and doctoral supervisor of the Department of Painting, School of Fine Arts, Tsinghua University, and director of Wu Guanzhong Art Research Center, Tsinghua University. Director of Chinese Artists Association, Director of Beijing Artists Association, standing director of Chinese Painting Association, enjoying special government allowance of the State Council.
His representativeness is rooted in the new tradition of modern art. Traditional Chinese painting had declined in the late Qing Dynasty. Since the 20th century, the predecessors of Chinese painting, some of whom aimed to revitalize Chinese painting, borrowed from the ancient to the modern school, some from the West to the Middle school.The latter group of painters were returnees in this year. They went out and brought in artists to carry on the tradition, open up new frontiers, and make active contributions towards modernity.However, there are two major orientations and two new traditions in Xirun.The first is the combination of western realism and the ancient tradition of "being proficient in physical objects", with Xu Beihong as its leader.First, the western modernism is connected with the ancient freehand spirit, Lin Fengmian, Pang Xunqin and Wu Guanzhong are all successively.
The context that Liu Jude continues comes from Lin Fengmian, Pang Xunqin, Wu Guanzhong system.With a broad international vision, this school of painters compares the similarities and differences between China and the West. Based on national culture, this school draws on ancient and folk traditions and integrates elements of modern Western painting.Their ink painting, abandoned the formulation schema, give play to the beauty of the color line, exaggeration, deformation, imagination, memory, inherited the traditional spirit, represent the Chinese lasting appeal, especially to the formal beauty of art, in the exploration of art forms, in traditional philosophy theory of art research, "while the series", to the deepest part of the Chinese culture.Liu Jude is one of the excellent successors of this school in the new period.