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This paper examines Lin Fengmian(1900~1991)’s paintings in relation to his art theory and life during a turbulent time in modern China.
One of the most outstanding artists in modern China, Lin Fengmian began his career as an artist when he returned from France at the age of twenty-seven to take the position of Director of the Chinese National Academy of Art. His concern was mostly focused on the educational and social aspects of art until war broke with Japan. He recuperated his work again in 1977, maintaining his former views on art theory, but the turbulent era that he underwent during the communization of China and the cultural revolution in the 1960’s led to a misunderstanding of his originality as an artist, leading him to oblivion. This paper aims at illuminating Lin’s paintings in light of his art theory and life during the turbulent modern era in China.
The nexus of Lin’s art theory can be summarized in two terms, namely ‘The Socialization Theory of Art’(藝術社會化論) and ‘The Theory of Creating New Art’(新藝術創造論). The first term was based on a Western European humanistic idea which Lin believed could free China from traditional views that bound society. The second term proposed the synthesis of the advantages of Chinese and Western artistic styles. He believed that painting should be an expressive outlet for one’s feelings and pure emotions.
Those two theories commonly stressed the fact that art is an expression of human emotion. His paintings tried to express his emotions through images of sceneries, women, and flowers, subjects which can be easily observed in our environment. This idea made it possible to connect Western modern art with that of traditional Chinese, by depicting simplified forms containing one’s essential characteristics. He also synthesized the painting methods of East and West, which he called caimohua(彩墨畵). He achieved great success in experimenting with the new method, creating his own distinctive style.
Lin’s life can be divided into four periods. His paintings reflecting his theories were formed in the second period of his life (1938~1949), while he was living as a recluse. The third period (1950~1977) completed and enlarged his previous works. The fourth period, however, showed a drastically different view from the former ones resembling instead the works from the first period in originality. They can be understood as expressing his strong and even more violent emotions from his experience without any kind of restraint. Lin Fengmian was often known as an artist who tried to import Western art methods to China like many of his contemporaries did. However, Lin made a critical breakthrough in creating a contemporary school of Chinese painting that surpassed others. While others rested in the category of Realism, he emphasized the pure creative mind and was concerned with formal construction. The works of his fourth period, especially, express meaning not through the subject matter but rather through the media, such as color and line. Lin Fengmian.
One of the most outstanding artists in modern China, Lin Fengmian began his career as an artist when he returned from France at the age of twenty-seven to take the position of Director of the Chinese National Academy of Art. His concern was mostly focused on the educational and social aspects of art until war broke with Japan. He recuperated his work again in 1977, maintaining his former views on art theory, but the turbulent era that he underwent during the communization of China and the cultural revolution in the 1960’s led to a misunderstanding of his originality as an artist, leading him to oblivion. This paper aims at illuminating Lin’s paintings in light of his art theory and life during the turbulent modern era in China.
The nexus of Lin’s art theory can be summarized in two terms, namely ‘The Socialization Theory of Art’(藝術社會化論) and ‘The Theory of Creating New Art’(新藝術創造論). The first term was based on a Western European humanistic idea which Lin believed could free China from traditional views that bound society. The second term proposed the synthesis of the advantages of Chinese and Western artistic styles. He believed that painting should be an expressive outlet for one’s feelings and pure emotions.
Those two theories commonly stressed the fact that art is an expression of human emotion. His paintings tried to express his emotions through images of sceneries, women, and flowers, subjects which can be easily observed in our environment. This idea made it possible to connect Western modern art with that of traditional Chinese, by depicting simplified forms containing one’s essential characteristics. He also synthesized the painting methods of East and West, which he called caimohua(彩墨畵). He achieved great success in experimenting with the new method, creating his own distinctive style.
Lin’s life can be divided into four periods. His paintings reflecting his theories were formed in the second period of his life (1938~1949), while he was living as a recluse. The third period (1950~1977) completed and enlarged his previous works. The fourth period, however, showed a drastically different view from the former ones resembling instead the works from the first period in originality. They can be understood as expressing his strong and even more violent emotions from his experience without any kind of restraint. Lin Fengmian was often known as an artist who tried to import Western art methods to China like many of his contemporaries did. However, Lin made a critical breakthrough in creating a contemporary school of Chinese painting that surpassed others. While others rested in the category of Realism, he emphasized the pure creative mind and was concerned with formal construction. The works of his fourth period, especially, express meaning not through the subject matter but rather through the media, such as color and line. Lin Fengmian.
목차
Ⅰ. 머리말
Ⅱ. 林風眠의 생애
Ⅲ. 林風眠의 예술사상
Ⅳ. 林風眠의 회화세계
Ⅴ. 맺음말
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