Portrait drawing & Philosophy.. & Politics!

Very brief remark here on a lifetime project to embark on at some point in my life. Just discovered that the Chinese portrait drawing style has an existentially different worldview than the common, Western-infested & hierarchical, sexual ones that I was raised in.

first, you realise phantom of opera type transgressive but mainstream romance kind of really fascinates me. I’m sure it’s deepseated

It steps at the line between purity and transgressing into lust.

Second, you realise how I can’t appreciate asian figures as much as western, and male as much as female at all. Like i know this is sexist and racist and even for-profit cheap aesthetics… but i just like it.

Asian bone structures are just a hell lot harder to grasp (from my starting pt i guess.. used to drawing the sharp eyebrows and chins first n foremost).

My original approach to female beauty might be guilty pleasure as it’s called…i have thought of learning to draw crests of elderly chinese ppl.. to sort of correct my worldview….or even just the leaves and plants. I have this guilty feeling that i sort of have a ‘duty’ to correct myself and get in touch with the ‘real world’ drawing wise.

i think the Chinese tradition of portrait drawing has a deep humility and humanist sense to it.. probably a socialist remnant worths preserving a lot:

https://www.pinterest.com/pin/20547742030947381/?lp=true

You can easily differentiate between Western style female and the Chinese style in the above mixture of both.

In the Chinese modern portrait tradition, there is a sense that even though the drawn person can be a very sexy/ beautiful girl, there is a sense that she is a unique person with a unique stare and facial expression that’s just at peace with being herself.

https://www.youtube.com/watch?time_continue=106&v=yGfy0Rw1D3k&feature=emb_logo

There is a feeling that you cannot and would not objectify her; this person has a life that shaped her gaze, crystallized in this particular snapshot of hers.

Whereas the western female gaze at the drawer/ audience is always predominantly colored by their being sexual/ female, in an almost identical flavor.. relatively speaking. Even the stare of a young girl invokes biblically mysterious innocence of the female species; while however undesirable and man-like a Chinese 大媽 looks in a portrait, in every facial detail lieth attraction, and that’s what gives male and female, the young and aged, the laboured and storied more so than the privileged more or less equal attraction as object for study.

Western objects attract by desirability; Chinese by honesty.

Third, you realise it has EVERYTHING to do with socialism in China.

中國素描一直以來有“德派素描”與“蘇派素描”之說。建國後,中國向前蘇聯派遣大量美術留學生,同時還聘請了前蘇聯專家來中國傳授素描技藝。這就使得蘇派素描在中國從者甚重,繁衍不絕。因為中國當時向東德派遣美術留學生相對較少,因此德派素描在中國應者寥寥,孤立難支。

當時,從推廣規模、流行程度和客觀影響力上看,中國的德派素描完全無法與蘇派素描相比。儘管德派素描只在很小的範圍內傳播,但是仍有很強的試驗性。前蘇聯的社會主義現實理論作為強大的藝術規範,曾被很多社會主義國家奉為藝術至上的法則。而德國,雖然在二戰後被分割為東西兩部分,但東德與其他社會主義國家一樣,也以前蘇聯為榜樣,拒絕西方現代主義藝術。儘管如此,由於德意志民族藝術傳統比較強大,一些東德藝術家在一定程度上還是沒有搭理前蘇聯那一套。他們以傳承西方古典藝術傳統為藝術教育的基礎,尤其推重以丟勒和荷爾拜因為代表的藝術表現方法。這樣一來,雖然也是具象造型訓練,也追求客觀真實效果,但從審美格調和製作技術上來說,就與蘇派素描有了些許不同。

中國頂尖人物畫高手,四十年前的人像素描https://www.zixundingzhi.com/yishujiaoyu/4d1880894d2085ca.html

And this was even greater..

對學習者來說,力不會顯現在形體表面,它是潛藏於形體內部的模糊存在,想掌握它就必須經過長期刻苦訓練。一般說,初學時是不可能知道什麼是“力”的,畫靜止對象也很難對這種存在於心理上的“力”有所感知。就個人學習體會說,是經過大量運動人體素描訓練后才真正感知到生物性的“力”的存在,因此科學的、系列化的訓練程序是必不可少的。在中國流行的蘇式素描訓練中通常隻重視對“形”的模擬而忽視對內在“力”的表達。有沒有對“力”的捕捉和表現,也是德蘇兩派素描訓練體系的重大區別之一。

“德派素描”與“蘇派素描”的差別 http://fj.people.com.cn/BIG5/n2/2017/0213/c380482-29708771.html

Wtf u differentiate two schools by such metaphysical concepts… so coooool! I m sure i m quite sensitive about these type of stuff. I now feel so much better about philosophy as such – their differences are probably a lot more pronounced and graspable in drawing than writing style, to me.

德派 (?)
Drawing Manga how to draw manga , comic , vẽ chân dung , Landscape Architecture, Architectural Record,đồ án kiến trúc,mediafire,autocad,3dsmax
中式蘇派(according to know-nothing anna)

More Politics talk..

無論德派還是蘇派,都與冷戰時期的國際政治背景有關,都是當時社會主義國家之間開展美術教育交流的結果,也都是社會主義國家制度下的特有文化現象。其中,中國曾向前蘇聯派遣大量美術留學生和請前蘇聯專家來中國傳授素描技藝,使蘇派素描在中國從者甚重,繁衍不絕。因為當時向東德派遣美術留學生相對較少,德派素描在中國應者寥寥,孤立難支。因此,從推廣規模、流行程度和客觀影響力上看,中國的德派素描完全無法與蘇派素描相比。盡管德派素描隻在很小的范圍內傳播,但是仍有很強的試驗性。

前蘇聯的社會主義現實主義理論作為強大的藝術准則,曾被很多社會主義國家奉為藝術至上法則。而德國,雖然在二戰后被分割為東西兩部分,東德與其他社會主義國家一樣也以前蘇聯為榜樣,也拒絕西方現代主義藝術,但由於德意志民族藝術傳統比較強大,民族自信心也較強,所以東德藝術家在相當程度上沒有搭理前蘇聯那一套,而是以傳承西方古典藝術傳統為藝術教育的基礎,尤其推重以丟勒和荷爾拜因為代表的藝術表現方法。這樣一來,雖然也是具象造型訓練,也追求客觀真實效果,但從審美格調和制作技術上來說,就與蘇派素描有了很多不同。

Damn… I really wanna learn to be a Chinese portrait drawer. Like i’ve heard of a lot of ‘politics v aesthetics’ stuff, but this time i rly get how important it is in coloring one’s perception.. it’s where 寫實風 dominates the market and it’s not easy to be.

Rather than redemption seeking, now it’s more like a freaking fun new in-road towards more eyeopening perspectives about the world (and ..socialism lol) that gets me radiating according to my friend!

A really nice realisation for me on sth that’s surely my passion!

Author: Veronique

To be tenacious, patient and independent.

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