Who in general will remember Picasso's full name?

Moreover, Qin Huai did not prepare the class in advance, but he was able to answer the questions fluently when the students suddenly made difficulties, which shows that Qin Huai has really studied the field and has a rich knowledge reserve.

If you ask a professor on the road, even if he specializes in the field of art, he may not be able to answer.

Qin Huai can recite Picasso's full name, how can he not have the slightest research on Picasso?

Seeing a group of students trembling and full of admiration as they looked at him, Qin Huai's face remained unchanged.

He was no stranger to this kind of gaze.

"Mary Suvin, the male protagonist Picasso!"

Some students began to make a fuss.

Picasso was an old pervert, in his fifties, and he was looking for a sixteen-year-old girl to be his mistress, and what was even more infuriating was that the girl was willing and threatened: No matter which woman, she can't resist Picasso's charm. ”

Mention of Picasso, Merry... Shi Yiluo, the students talked a lot.

"No woman can resist the charm of Qin Huai's little brother!"

"Yes, yes, the charm of Qin Huai's little brother is just as irresistible. ”

The schoolgirl of the strange race led the topic to Qin Huai.

These words aroused Qin Huai's strong desire to survive**, and he hurriedly changed the topic:

"This time I came to CAFA, in fact, I also prepared something to talk about seriously. ”

Qin Huai coughed seriously twice and moistened his throat:

"I'm going to talk about ...... The problem of Chinese painting innovation that has plagued us for more than 100 years. ”

What has plagued the innovation of Chinese painting for more than 100 years?

When Qin Huai's words fell, the students were startled, and the entire classroom quickly fell silent, and a pair of eyes fell on Qin Huai's face in astonishment.

They thought that Qin Huai would talk about a few simple artistic concepts, or continue to talk about some basic brushwork and ink techniques.

However, he didn't expect Qin Huai to throw out a rather controversial topic.

This kind of topic is a hot potato, once the point of view is wrong, it will be collectively criticized by the calligraphy and painting association, and offend all kinds of factions.

Is there something missing from the eyes?

The students sweated for Qin Huai's little brother......

It turned out that under the appearance of Qin Huai's little brother who was a humble gentleman, there was an unruly and domineering heart.

Qin Huai stood on the podium and began to tell from a hundred years ago.

"In the mid-eighteenth century, the West's guns shattered the self-confidence of a twilight empire.

Self-confidence in all aspects has been scorched and withered in the fire, and the field of Chinese painting is certainly not immune.

At that time, Kang Youwei advocated the integration of China and the West for a new era of painting.

Chen Duxiu vigorously advocated the revolution of art and advocated the import of "Western painting realism" in order to make a new one.

As a result, the traditional painting of the Chinese family began a turbulent and turbulent dispute. ”

With only a few words, Qin Huai made the situation clear.

The students listened quietly, the background introduction in the early stage, and the real arguments in the back, so they patiently listened to Qin Huai's narration.

"If there is one sentence to summarize the trend of thought in the innovation of Chinese painting in the 20th century, it is to transform Chinese painting through Western painting.

That is, to reform Chinese painting by adopting Western modeling techniques and concepts.

Remember, even the ideas of Chinese painting here have to be Western. ”

Qin Huai knocked on the blackboard to draw the key points, stood on the podium with a straight face, and looked like a strict teacher.

Qin Huai is indeed very strict.

Lu Xiaoyu was scolded and cried by him.

……

With this trend of thought, Xu Beihong, Liu Haisu, and Lin Fengmian began to gallop in the art world.

However, in this revolution, there are also painters who firmly extend the lifeblood of traditional painting, such as Qi Baishi, Huang Binhong, and Pan Tianshou, who used the technique of rejuvenation of the holy hand to restore the flowering of old trees, and thus the dawn of Chinese painting. ”

Qin Huai wrote two lines of his name on the blackboard.

Qi Baishi, Huang Binhong, Pan Tianshou.

Xu Beihong, Liu Haisu, Lin Fengmian.

"Wow. ”

As soon as I came up, I divided the factions of the needle tip against Maimang, and this class sounded so exciting!

The students were shocked, cheered up one by one, listened with bated breath, and waited for Qin Huai's next argument.

"There is nothing wrong with learning, but in that era of serious self-confidence, in an era when a group of celebrities proposed that Chinese characters must be abolished to save the country. This kind of innovation is absolutely overkill. ”

Argument out.

Four words are overkill.

Concise and to the point, direct denial, the guts are really fat.

Some students were stunned, their faces were stunned, and the words overkill, are they serious?

Of course, there are also students who do not agree with Qin Huai's argument.

"After more than 100 years of innovation, you say overkill, overkill?"

One student retorted loudly.

Immediately afterwards, several students began to refute Qin Huai's theory.

"Why do I say overkill? I have to start with the origins of Western painting and Eastern painting. ”

Qin Huai turned around and wrote a small line on the blackboard: attitude towards nature.

Qin Huai's chalk writing is very neat, and the typography is also written strictly from the top, without a trace of chaos, like a late-stage patient with obsessive-compulsive disorder.

Word into.

Qin Huai pinched the chalk and turned around, at this moment, Qin Huai slowly condensed a momentum on his body.

"Listen to me explain slowly. We know that in Africa, Asia, America, and Europe, art tends to be realistic in the initial stages.

The achievements of realistic art in ancient China are very high, such as the terracotta warriors and horses of Qin Shi Huang, the bronze and gold and silver rhinoceros of the Han Dynasty, and the realistic craftsmanship is leading the world. ”

No student spoke out to refute this.

The realistic craftsmanship of the Chinese family 2,000 years ago can be blown up.

"However, art forms will gradually change and diverge according to the relationship between humans and nature.

Let's start with China.

The Chinese family tamed the flood and reclaimed the farmland, which naturally made the ancestors stable and prosperous, so the ancestors developed a sense of intimacy with nature.

Therefore, in the long-term peaceful coexistence relationship with nature, Chinese painting and nature were integrated, giving rise to the Lao Zhuang idea of the great sound and the unity of heaven and man.

At the same time, the personal form was slowly forgotten in nature, and the literati merged into a broader emotion, and began to pursue the Tao and the spirit.

Generally speaking, it means that the literati of the Chinese family have focused on the spirit and spirit from the very beginning of realism, and only after the spiritual cultivation can they create good works.

The ancients divided their words and paintings into three sections. The three subjects are figure painting, landscape painting, and flower and bird painting.

Figure painting is a painting of the human social system.

Landscape painting depicts people and nature.

Flower and bird paintings are all kinds of lives that live in harmony with people. The combination of the three covers the ancients' thinking on the unity of nature and man. ”

Well said, makes sense!

Qin Huai quoted from the side, quoted classics, and explained with professional knowledge and concepts, and the originally boring lectures became relishful under Qin Huai's mouth.

"Look at Western art, which originated in ancient Greece. Ancient Greece belonged to the maritime civilization, in order to survive, the ancient Greeks had to overcome the harsh nature, therefore, they fought against nature, hated nature, so they did not regard nature as beauty, but human beauty, and the artistic situation derived from this is accurate sketching. ”

Qin Huai knocked on the blackboard and wrote a sketch under Greece, with a few words of personal form.

Under the Chinese culture, the spirit and spirit are written, and the seven characters of heaven and man are one.

"Our art, from realism to ignoring the existence of human beings, and controlling brush and ink with spirit, is completely ahead of its time. ”

"I don't believe you turned your gaze to the West, but in the fourteenth century, when the West settled down from the steppe nomadism, the Impressionists abandoned the elaborate realism of sketches and began to take a vague course.

Fauvism no longer pays attention to perspective and light and shade, but abandons the traditional ratio of distance and light and shade, and adopts the flat composition that we are used to us, so that the shadow surface and the object surface are strongly contrasted.

As for Picasso, many of his later paintings have lines that resemble calligraphic handwriting.

There is also the composition of Mondrian's red, yellow and blue. directly reduced the once colorful Western colors to three.

The development of Western art is based on the stability of life, and the concept of nomadism has gradually changed.

But what they are developing now is actually two thousand years old that we have been developing. We began to settle down more than 1,000 years ago, so the modern and modern factions of the West can be found in our ancient paintings.

Picasso became more and more focused on the outline of the line, and the black lines were similar to the calligraphy strokes.

Mondrian's paintings, in which the canvas is painted directly into small lattices of different colors.

But we've been playing with similar minimalist patterns for a long time, such as moving from colorful strokes to black ink and white paper.

When the West began to discover the emotions and temperament of the characters, Gu Kaizhi, a famous painter in the Wei and Jin dynasties, put forward the "god form theory" for figure painting, focusing on reflecting the spirit and spirit of the characters. Spirit, spirit and spirit are the essence of Chinese painting. ”

Qin Huai sighed.

Nowadays, many painters are clamoring for the innovation of Chinese painting, but they are toddlers in Handan.

If the West has not been learned, the backbone, charm, hills and valleys, and moral cultivation contained in the brush and ink of Chinese painting have also disappeared, and it has become a group of demons that are not like the four dislikes.

This kind of innovation, don't do it!"

The students had goosebumps all over their bodies, Qin Huai really dared to say it.

Aren't you afraid of being led by some people?

However, Qin Huai seemed to have a fearless appearance, calm and peaceful:

"Compared with the visual impact of Western painting, Chinese painting is very subtle, the threshold is quite high, if Western painting can be love at first sight, then the country is long-term love, the more the taste, the more meaningful.

And have you noticed that Western painting is becoming more and more difficult to understand now, isn't it exactly the development rules that Chinese painting has gone through?"

"Looks like that's really the case!"

The eyes of the students in the audience lit up, Qin Huai's theory seemed irrefutable.

If you look at the history of art, you will find that the development of Western art was stagnant until the fourteenth century.

When they conquered nature and began to settle down, the Renaissance began.

And they move from realism and figuration to abstraction, to integrate the individual into nature...... The Chinese family has already walked this road for 2,000 years.

So what exactly is it going to innovate?

"Of course, it's still okay to learn some three-dimensional compositions that are completely different from ours, and the Chinese nation has always been tolerant.

But to say that to reform Chinese painting with Western artistic concepts and change the essence of Chinese painting beyond recognition, sorry, this is simply nonsense. ”

Qin Huai's views are clear, and there is no ambiguity at all.

He lived in a very different era than he had a hundred years ago, and his attitude was very different from that of his predecessors.

It is as if Voltaire once wrote in his book: China's political system is the most complete system in the world.

However, after Voltaire, the rapid rise of the West and the decline of China, this system of government became the darkest system in the writings of other thinkers, and was devalued as worthless.

In the same way, some people today proudly say that the thinnest copy of the UN report is China.

It's pride and confidence.

But a hundred years ago, many people of insight believed that Chinese characters must be abolished, and that only the use of English could save the country.

The saying that the fist is truth is completely true.

Qin Huai glanced back at the blackboard, and the things he was going to talk about were almost there.

"Saying all this, I actually want to tell you that you can't lose your cultural self-confidence, but please also open your eyes to the world, and today we can learn from excellent cultures around the world.

Emerson once said in his book On Art: Although we have to go to the whole world to find beauty, you must carry beauty with you, otherwise you will not find beauty.

Therefore, no matter which country you will go to in the future, or which mountain in the world you will go to, the beauty you carry is actually the accumulation of 5,000 years of traditional Chinese culture, and you must ...... Keep it with confidence!"

Qin Huai's expression was solemn, word by word, sonorous and powerful.

Hearing this, the students were moved.

"The beauty you carry is actually the traditional cultural accumulation of the Chinese family for 5,000 years. ”

That's a good statement.

The students had a reverie on their faces, and they saw Qin Huai on the podium glowing brightly, which was an indescribable, but inexplicably dazzling demeanor.