2 PAGE RESEARCH PAPER OF A CHINESE ARTIST
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Course Title
August 1, 2015
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Chinese'Landscape'Painting'&'Aesthetic'Theory: Fang Lijun: A Cynical
Realist Painter.
CCA:’spring’2015
Date
Dofflemyer
Fang Lijun
Introduction
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Fang Lijun is a Chinese cynical realist paint maker who headed the 1990s
Cynical Realist movement. Born to a wealthy cynical realism family in 1963, the Beijing
based artists grew up learning about cynical realism. His family shaped his world views
as he adopted that same style some kef the family members used. His work was
influenced more by his teacher Li Xianting at the Central Academy of Fine Arts in
Beijing in 1990.
The oil painting medium was his chosen medium because that was the main
medium taught in the school. However his style is versatile as Fang Lijun seeks to paint
about personal freedom of the youth in China. While Fang Lijun was considered the
youngest artist in China during his time, Fang Lijun was amongst the first painters to have
exhibited works about the disillusionment of the Chinese youth. For example, one of his
most outstanding works was based on the Tiananmen Square phenomena, and China’s
internal domestic policies[1].
Additionally, the fact that his works are about the real events but with
humorous touch. His works are mainly “Wanshi – a Chinese term meaning cynica"Cynical Realism styled art work. For example, his painting about the angst and rebellion
of the Chinese youth tend to portray the disenchantment of the younger generation in
China. It is also important to note that the fact that Fang Lijun personalizes the serious
events in China does not make them smile. However, this is a style of communication
intended to evoke reaction, and wakefulness among the youth[2]
In China, Fang Lijun is considered protagonists as his illustrative style
takes a comical stance at problems in China. Fang Lijun also adopts the folk art style to
paint the national identity. The social realists in China a different movement is amongst
the main movement in China that realized the importance of Fang’s work and the role the
art work play in promoting national identity because Fang Lijun relide on the ancient
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Asian woodblock printing. The is style involves carving images onto a wooden panel
and painting the surface then making an ink impression on a piece of paper. It s
important to note that each tone, hue, and shade required using a separate plate[3].
The wooden medium of expression of choice is influenced by the ancient
Chinese history. Even though Fang Lijun does not depart from the established styles he
has clearly demonstrated his loyalty to culture and history. His impact on contemporary
painters includes the rarefied adoption of the monumental sized print. The large scale
prints are currently being adopted by many modern day painters. For example, a number
of contemporary artists adopt the massive print images. Additionally, the 30th Mary
painting gives a better example of the Chinese youth delusion.
Figure 1: Woodblock print
[4]
It is also clear that his art involves a form of transcendence as each of the
pictures in the image 30th Mary is distinctly colored image of demonstrates the oneness
of distinct personalities in China. This is referred to as hyper realism. The clouds appear
to be coming from a focal point which is like an opened portal producing people. The
cynism in this painting is based on the belief that everyone is driven by self interest. Fang
Lijun represents the Chinese youth as delusional, egoistic, and self centered. In the picture
below, each person has a place to play and will be accountable as an individual and not as
a group[5]. The distinctive nature of the Chinese youth such as egoism, and selfcenteredness makes them outstanding but is delusional by the same problems.[6]
Figure 2:Fang Lijun’s work encapsulates the disillusionment of China’s youth;
Conclusion
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Fang Lijun’s works are considered perceptual realistic because he
represents situation, events, or circumstances as accurate as possible and as they occur in
nature. A good example of the real events includes the Tiananmen massacre. His 1999
woodblock prints and ink on 5 paper and fabric scrolls with wooden dowels.
References
Gallery, Saatchi. 2015. 'Fang Lijun Exhibited At The Saatchi Gallery: Artist's
Profile - The
Saatchi Gallery'.
Saatchigallery.Com.
http://www.saatchigallery.com/artists/fang_lijun.htm..
Xiaoping Lin, “Those Parodic Images: A Glimpse of Contemporary Chinese
Art,” Leonardo (1997), accessed October 7, 2014.
Monadnock, (2014). Review: “The Paintings of Chen Yifei” by Michelle FramCohen.” Monadnock Review: “The Paintings of Chen Yifei” by Michelle Fram-Cohen.
N.p., n.d. Web. 16 Oct.
Crespi, John A. (2011). “China’s Modern Sketch 1 – The Golden Era of Cartoon
Art, 1934-1837.” MIT Visualizing Cultures. Massachusetts Institute of Technology,
5
Visualizing Cultures,.
<http://ocw.mit.edu/ans7870/21f/21f.027/modern_sketch/ms_essay03.html>.
Andrews, Julia Frances., and Kuiyi Shen. The Art of Modern China. Berkeley: U
of
California, 2012. Print.
[1] Crespi, John A. (2011). “China’s Modern Sketch 1 – The Golden Era of
Cartoon Art, 1934-1837.” MIT Visualizing Cultures. Massachusetts Institute of
Technology, Visualizing Cultures,.
<http://ocw.mit.edu/ans7870/21f/21f.027/modern_sketch/ms_essay03.html>.
[2] Monadnock, (2014). Review: “The Paintings of Chen Yifei” by Michelle
Fram-Cohen.” Monadnock
Review: “The Paintings of Chen Yifei” by Michelle
Fram-Cohen. N.p., n.d. Web. 16 Oct.
[3] Andrews, Julia Frances., and Kuiyi Shen. The Art of Modern China. Berkeley:
U of
California, 2012. Print.
[4] Gallery, Saatchi. 2015. 'FANG LIJUN EXHIBITED AT THE SAATCHI
GALLERY: Artist's Profile - The Saatchi Gallery'. Saatchigallery.Com.
http://www.saatchigallery.com/artists/fang_lijun.htm.
[5] Andrews, Julia Frances., and Kuiyi Shen. The Art of Modern China. Berkeley:
U of
California, 2012. Print.
6
[6] Gallery, Saatchi. 2015. 'FANG LIJUN EXHIBITED AT THE SAATCHI
GALLERY: Artist's Profile - The Saatchi Gallery'. Saatchigallery.Com.
http://www.saatchigallery.com/artists/fang_lijun.htm.