Xue Xuanlin’s Relative School of Painting

The Relativity School, referred to as the "Relativity School", was founded by Xue Xuanlin in 1986.

The general concept of the Relativity School, referred to as the "Relativity School". Relativity School (Reality and Illusion): The merging of concreteness and abstraction, seeking harmony in disharmony. He is a famous Chinese painter, famous art theorist, and founder of the Relativity School, Xue Xuanlin, who founded it in 1986. The original works of Xue Xuanlin, the founder of the Relativity School, which is referred to as the Relativity School, all have anti-counterfeiting codes, that is, encryption measures (the Da Vinci Code). "Xue Xuanlin is the founder of the relative painting school, the discoverer of the three constant laws of beauty, and the pioneer of inimitable painting. In 1989, he published "Concept Renewal and New Exploration of Chinese Painting Techniques" and established the relative painting school, (that is, the merging of abstraction and concreteness, disharmony Pursuing harmony.) Obtained China's first art patent in 1987 (see page 448 of "Dictionary of Contemporary Chinese Inventors", patent number 871015749)..." ---Inner cover of "Xue Xuanlin Art Theory".

Xue Xuanlin: Painting schools are created, not built.

Painting school refers to the painting form that forms a "unique and beautiful symbol" based on a unique painting art concept. (Xue Xuanlin’s definition can be found in various dictionaries) The painting school must have the following prerequisites and conditions. First, the theoretical premise or conditions of the school of painting. Must have unique artistic ideas or modeling concepts. Second, the practical prerequisites or conditions of the school of painting. Create your own unique artistic style and technical system works. Third, one or more groups. Only when the above three prerequisites or conditions are met at the same time can it be called a painting school. Traditionally, we have always been accustomed to understanding the painting school as just a group, which is a misunderstanding. "The formation of a painting school mainly depends on unique artistic ideas, modeling concepts and modeling forms, or artistic expressions. It does not depend on the number of people. A person can be called a painting school or painting as long as he meets the above prerequisites. The founders of the school. For example, the Cubism School and Picasso; the Abstract Painting School and Kandinsky; the Surrealist School and Dali, all successfully became the founders of painting schools or painting schools. See 2006-3-17 "Xizhi Painting and Calligraphy". Newspaper"

Great works of art are the historical foundation of great painting schools and great artists.

Great works of art are "unique and beautiful". "Symbol" artistic works are the historical foundation of great painting schools and great artists. Unique aesthetic concepts and uniquely beautiful symbolic works are the premise of the painting school.

China's regional painting schools are the product of history and have become In the past

Currently, the regional sects practiced across the country have almost no new artistic ideological systems, modeling concepts and unique art forms. However, the most unified slogan is "pen and ink should follow the times". But this sentence came from Shi Tao in the Qing Dynasty. What he said in the Qing Dynasty has become the artistic thought or main slogan of our new regional painting school. Is this because our nation lacks innovative spirit? Or is it because we have entered a misunderstanding? What is equal to zero? ·····The conclusion of using the negation theory of dialectical materialism to judge the current national regional painting schools is also zero, that is, every province, city, and region is equal to no painting school. This is a truth that everyone with general knowledge of philosophy knows. If our regional painting school develops into a new regional painting school, what will it be called in the future? If we agree to call it the "Chinese Painting School", then we can no longer call it the "Xinxin Regional Painting School"... In the history of Chinese painting, there are only "literati painting schools" and "academic schools" that can be called it. Painting schools, and other so-called painting schools, are actually sects formed by masters, disciples, and geographical relationships, rather than painting schools in the true academic sense. See 2006-3-17 "Xi Zhi Shu Pictorial". "Xue Xuanlin: China's regional painting school is equal to zero" reporter Zhu Tong. Academic works. These works not only raise new topics for the academic world, but more importantly, they bring about a revolution in our way of thinking and an update of concepts. Behind new ideas and concepts, there is often an outstanding genius. The creation has changed the face of history. Xue Xuanlin, the founder of the Relativity School, is such a pioneer who is brave in innovation. His mind is armed with philosophical thinking. He is good at independent thinking and dares to put forward unique opinions. Break the old concepts and rigid dogma in the ideological field and challenge the existing authority.

For the first time, he put forward systematic theoretical views such as the new "Xue's Six Methods" modeling concept of Chinese painting, trying to break the dominance of Xie He's "Six Methods" in Xuan painting, that is, Chinese painting creation, for thousands of years, and to transform painters and theorists from traditional artistic thoughts. To be liberated from the constraints of modeling concepts, in order to renew concepts and create new traditions. Realize that Xuan paintings, that is, traditional Chinese paintings, will move towards modernity and the world. His artistic innovative ideas have had a profound impact on the development of Chinese national painting, injecting vitality and vitality into the artistic life of the ancient national painting, and played a positive role in promoting it. In 1989, Xue Xuanlin published his first academic monograph "Renewal of Chinese Painting Concepts and New Explorations in Techniques", which laid the foundation for the later publication of "Xue Xuanlin Art Theory". Three years later, in the 1990s, someone in the Chinese painting circle shouted the slogan "Brush and ink equal zero" on this basis, which triggered a strong response in the art world and started extensive debate. This interesting similarity is just as Bacon proposed for the first time in "New Instruments" that "human knowledge and human power are one" and "the way to reach human power and the way to reach human knowledge are closely related." Next to each other, and almost the same." These two sentences were summarized by later generations as "knowledge is power". The situation is exactly the same. The slogan "Brush and ink equals zero" comes from the academic viewpoint of "non-brush and ink" first proposed by Xue Xuanlin in his professional book "Renewal of Concepts and New Explorations of Chinese Painting Techniques" published in 1989 - "No brush itself is a brush. There is no such thing as no pen." "The misconception of no pen itself lies in the failure to distinguish between 'pen' and 'penmanship'." "The most important thing is often not the various material and tool factors in the art form, but the unique modeling concepts and unique forms of expression used in the work itself. Pay attention to the beauty or 'soul' hidden in the work that infects the viewer. "Under this premise, it doesn't matter what kind of tools and methods are used. The best attitude towards 'pen' is not to choose any 'pen'." "Color comes from a single ink and Chinese painting pigment..." "From this point of view, it is precisely because of Xue Xuanlin's fearless spirit that he proposed new topics to the academic community for the first time and triggered continuous academic debate. Xue Xuanlin's artistic thoughts are concentrated in the academic monograph "Xue Xuanlin's Art Theory" published by Tianjin People's Fine Arts Publishing House in 2003. The book systematically expounds the renewal of the concept of Xuan painting, that is, Chinese painting, and innovates, supplements and improves the "Six Methods of Shaykh". Xuan painting replaces Chinese painting and provides a scientific name and definition for the art of Chinese painting: Xuan painting - painting using pigments on rice paper and Xuan silk. It is the main form of oriental painting art and other modeling concepts and discoveries that summarize the "three constant laws of beauty" in artistic innovation. The modern aesthetic tendency he advocated subverted brushwork and composition; he also scientifically defined genres and schools of painting. It provides a theoretical basis for the diversified development and comprehensive innovation of Chinese painting art; the innovative ideas in artistic aesthetics he advocates play an important role in promoting the diversification, modernization and globalization of Chinese painting; and what he advocates The theory proposed that "the most primitive painting is language, and art originates from human language consciousness." revised Engels's "art originates from labor". The study of primitive art is instructive. After more than 20 years of exploration and creation, Xue Xuanlin has formed a complete theoretical and ideological system of artistic aesthetics. "Xue Xuanlin Art Theory" summarizes the confirmation of the theory by long-term artistic practice and perfects the "Relativity School". He chose a fusion of abstraction and figuration that looks forward to the new century; the Relativity School - an art form that is "real and illusory" and "relatively harmonious", showing the infinite space of the universe and the pursuit of eternal beauty on a limited picture. daydream. From each of Xue Xuanlin's works, we can hear his passionate eulogy of the depths of human life and soul and the realm of the universe that transcends human nature. His enterprising consciousness of pioneering and innovation and the spirit of continuous struggle for self-improvement are the concrete expression of the cultural spirit of the Chinese nation and the value of Xue Xuanlin's art. "Xue Xuanlin's Theory of Art" is the first academic monograph in the history of Chinese art that opposes traditional aesthetic concepts and technical systems and aims to comprehensively create new art theories, techniques, and schools. It fills the gaps in the art history of China and the world. Xue Xuanlin's artistic aesthetic thoughts have had a wide impact on the Chinese art world, providing a theoretical basis for the reform and innovation of Xuan painting, that is, traditional Chinese painting. Provides research topics for the academic community. Entering the 21st century, the issue of cultural innovation has received unprecedented attention from the country.

Xuan painting, that is, the innovation of traditional Chinese painting, has once again been brought up by the art world in an academic way. Innovating tradition and inheriting tradition are no longer opposite contradictions. Cultural and artistic innovation has become a common consciousness. How to carry out real artistic innovation? How to form an art school? How is the professionalism of an artist reflected? Such academic topics are placed in front of contemporary Chinese painters. Painters are eager to establish painting schools and have launched painting schools named after regions in China. Xue Xuanlin believes that they have entered the "zero" misunderstanding because the current national regional paintings are judged by the negation of negation theory of dialectical materialism. Pi's conclusion is also zero. He asserted: "Regional painting is equal to zero!" and triggered a nationwide academic controversy. Xue Xuanlin scientifically defined genre or painting school more than ten years ago in the academic monograph "New Exploration of Concepts and Techniques of Chinese Painting": "A painting school in the true sense is not just a group, but also should have The following prerequisites or conditions are as follows: First, genre refers to a unique artistic concept, artistic proposition and the formation of its own unique ideological system. Second, genre refers to the formation of similar styles and techniques under the premise of the same artistic concept. Art forms. Schools cannot be divided based only on similarities in styles, techniques, and objects of expression. The fundamentals should be based on the same or similar single techniques and similar objects, but the concepts are not different from those of other people or predecessors. It is called the formation of a new school, but it can only be called a style, and schools are different. Third, one or more groups must meet the above three prerequisites or conditions at the same time to be called a school or school of painting. For example: abstract school. Kandinsky, the founder of Cubism, Picasso, the founder of Surrealism, etc. "The entire history of painting is the history of the changes and development of the concept of modeling and the aesthetics of painting art forms determined by it. The formation of painting genres and genres is, first of all, the formation of the concept of modeling. The change and renewal of the beauty of all painting art forms first depends on the change and renewal of the concept of modeling." Just after the New Year of 2006, Xue Xuanlin made a splash in the Chinese painting world. A whirlwind. On January 14, 2006, the authoritative Chinese industry newspaper "Art News" published a set of commentaries by Xue Xuanlin on "On the Nature of Art Innovation" and "Cannot Create Contemporary Art Waste", which subverted the entire Chinese art world and collectors. With their aesthetic habits and attention styles, the "6 Standards of Art Waste" have become the industry's guide. Major professional newspapers and media outlets across the country have reprinted it. "Chinese Calligraphy Herald" on February 22, 2006, titled "How Can We Create Contemporary Art Waste" was forwarded by the editor, and "Xizhi Calligraphy and Painting News" on February 24, 2006, titled " "We want beautiful creations, not art trash" reposted the full text; "Yachang Art Network", "China Art Network", etc. reprinted the full text. On January 21, 2006, "Art News" published Xue Xuanlin's aesthetic theory article "Art Origins from "Human Language Consciousness", "Classification of Primitive Painting Language Symbols and Art", "The Main Differences between Primitive Painting Language Symbols and Modern Art" have proposed new topics in the field of aesthetic research. On March 17, 2006, the editor's note of "Xizhi Calligraphy and Pictorial News" published "China's regional painting schools are equal to zero", which aroused strong repercussions across the country. "Art News" published two issues on April 8, 2006 and April 15, 2006, and published Xue Xuanlin's "Talk about the Best Investment in Chinese Painting", which once again caused a stir in the art, collection, investment and other related media and the Internet. widespread attention and reprinting. On July 22, 2006, the editor of "Art News" published Xue Xuanlin's academic research theory article "Xuan Painting Replaces Chinese Painting" to fully internationalize the national painting art, which once again set off a nationwide campaign to re-scientifically name and define traditional Chinese painting. The big discussion pushed the "Xue Xuanlin phenomenon" to a climax. It has attracted unanimous attention from the cultural circles across the country. An excellent painter may be satisfied with the proficiency and perfection of his techniques and spend his whole life reaching a certain height in the existing field. An important artist cannot stop here. He must provide new artistic concepts, create new artistic aesthetic trends, and rewrite the artistic direction of an era. With a scientific and rigorous attitude and a pragmatic spirit, Xue Xuanlin re-named and defined Chinese painting scientifically and accurately with "Xuan Painting Replaces Chinese Painting" - Xuan Painting (Chinese Painting): that is, painting using pigments on rice paper and Xuan silk. The main form of Eastern art. It provides a solution for the comprehensive internationalization of Chinese national painting art. It has completely solved another eternal problem that has troubled us Chinese people.

It makes the national painting art of Xuan painting easy to teach and promote, breaks the international dominance of oil painting, and makes it one of the two major painting types in the world. It promotes the development of Chinese national painting art and accelerates its development. Steps to the world. Xue Xuanlin's fearless spirit in breaking through old ideas and rigid dogmas in the field of thought is shocking. His enterprising consciousness and spirit of pioneering and innovation, as history progresses, his contribution becomes more important and his influence becomes increasingly far-reaching. He will make outstanding contributions to the great rejuvenation of the Chinese nation. Xue Xuanlin, the founder of the Relativity School, is writing a new page in the history of art in China and the world.

2007.1.18 Jiangshan

The artistic characteristics and historical status of Xue Xuanlin’s relative painting school

The aesthetic and creative value of Xue Xuanlin’s relative painting school’s “unique symbol of beauty”

1. The founding of the school - Relative Painting School

1. Relative Painting School (Reality and Illusion): the merging of concreteness and abstraction, seeking harmony in disharmony.

Painting school: refers to the painting form that forms a "unique symbol of beauty" from a unique painting art concept (defined by Xue Xuanlin). The history of world painting art, especially the history of modern painting art, is almost the history of the development of the leading schools of painting. In 1986, Xue Xuanlin founded the Relativity School, which is in line with international standards, and became the youngest founder of the school in the world after Picasso (Picasso founded the "Cubism School" at the age of 28, and Xue Xuanlin founded the "Relativity School" at the age of 29). Known as "the creator of the epoch-making artistic miracle in 1989". It is a series of works that express the life beyond time and space, "real and illusory", and eternal life in the universe. The Relativity School creates unique art forms and aesthetic conceptions such as concreteness and abstraction, reality and fantasy, finiteness and infinity, ancient times and modernity, time and space and super time and space. A unique "symbol of unique beauty" is formed. It gives people unlimited reverie and powerful aesthetic consciousness, which is shocking.

2. Xue Xuanlin’s relative painting works are unique, unique, historical and cultural.

In order to ensure quality, Xue Xuanlin’s works have a process of precipitation, destruction, and retention. Xue Xuanlin, like Li Keran and Wu Guanzhong, will never perform in person or participate in PEN conferences. Never create art trash.

2. Xue Xuanlin’s historical contribution and historical status in world art

1. Famous Art Theory

"Renewal of Concepts and Techniques of Chinese Painting" (1989 Chinese Painting landmark works in the history of art), "On the Eternity of Art" (1993), "Xue Xuanlin's Theory of Art" (2003). Following "Da Vinci's Theory of Painting", "Rodin's Theory of Art" and Kandinsky's "On the Spirit of Art", the world The fourth book on the art of painters). The three art treatises by Xue Xuanlin and above have become world-famous art treatises or painting treatises together with the "Ancient Paintings" written by Xie He during the Wei, Jin, Southern and Northern Dynasties of China. A must-read for today's painter. It has played a vital role in promoting the development of contemporary Chinese art and art. Xue Xuanlin also stated that he had given up the copyright of the above three works.

2. The ranks of famous painting schools

The "Relativity School" has been established as a "famous painting school at home and abroad" and is also the painting school in China that is truly in line with international standards.

3. Important discoveries and contributions to art and aesthetic theory

New conceptual terms created by Xue Xuanlin: Three Constant Laws, Xue's Six Methods, Six Elements of Modeling in Xuan Painting (Traditional Chinese Painting), Beautiful The law of three constants, the three constants, Xuan painting, the law of artistic value, the third cosmology, the five major categories of art, reality and illusion, Xue Xuanlin's art theory and ideological system, the school of relativity, the school of relativity, etc. Xue Xuanlin also published several important academic papers. He also made important contributions to aesthetics and art philosophy.

As Xue Xuanlin said: "The form of truly great art must be a symbol of unique beauty." "The content of artistic beauty is the unique thought and soul of all art, but the form of truly great art must be a symbol of unique beauty." It is a symbol of unique beauty. This is the most crucial feature of high-end art. The highest state of art is the "symbol of unique beauty", which mainly refers to the form of artistic beauty. The reason why ordinary art is ordinary is that it does not have unique beauty. As for the market and price of art, they are reflected in the value attributes of art collection, investment, and consumption. Value art is aesthetic and creative art. Because it is different from traditional aesthetic habits, it will be temporarily neglected and first low and then high. phenomenon, but the aesthetic creativity of art - the value of art will eventually be consistent with the price of art. Time is fair, and history is the best witness.

Some art that follows what others say, goes with the flow, and lacks individual characteristics will surely disappear in the blink of an eye. constantly disappearing from people's memories. The years are left to history, only the most beautiful and magnificent movements composed by the creators of beauty with their efforts and lives' (selected from the preface of Xue Xuanlin's Art Theory) such as Van Gogh, Picasso, Fu Baoshi, Huang Binhong... Innovation is a brave road and lonely roads. Even at the cost of life. That's why it makes sense. (Jiangshan)