As an art critic, my name is Wang Guilai, and for a long time, I have been immersed in the sea of various works of art, exploring their depth and breadth. Among them, the art of calligraphy and painting has attracted my attention, and its unique charm and profound connotation have always fascinated me. However, despite my deep love for the art of painting and calligraphy, I cannot ignore the current problem facing the art criticism of calligraphy and painting, that is, the phenomenon of "underestimating criticism and emphasizing criticism".
This phenomenon is manifested in the fact that critics pay too much attention to theoretical elaboration and ignore the in-depth evaluation of the work of art itself. They are obsessed with constructing complex theoretical systems, but they have forgotten the original purpose of art criticism—to provide a fair and objective evaluation of works of art. This tendency of "underestimating and emphasizing criticism" undoubtedly weakens the actual effect of art criticism, and even misleads the public's perception of works of art.
I firmly believe that the core of art criticism lies in the in-depth understanding and evaluation of works of art. We need to analyze and evaluate the creation background, artistic techniques, and aesthetic value of works of art, rather than just staying at the theoretical level. Only in this way can we truly appreciate the unique charm of calligraphy and painting art, and then promote the development of calligraphy and painting art.
I call on all art critics to re-examine their own criticism methods and balance the relationship between "criticism" and "theory". We should pay more attention to the in-depth evaluation of works of art, rather than just empty theoretical elaborations. Only in this way can we truly fulfill our duties as art critics, provide accurate and in-depth art evaluation to the public, and promote the development of calligraphy and painting art.
In addition, I also hope that the public can look at art criticism more rationally, not only accept the views of critics, but also learn to think independently and form their own artistic aesthetic concepts. Only in this way can our art of calligraphy and painting continue to develop and progress with the participation and promotion of the public.
As an art critic, I am deeply aware of the seriousness and harmfulness of the phenomenon of "underestimating criticism and emphasizing criticism". I firmly believe that only by changing the way of criticism and balancing the relationship between "criticism" and "theory" can we truly promote the development of calligraphy and painting art and let more people appreciate its unique charm. At the same time, I also hope that the public can participate more actively in art criticism and jointly promote the prosperity and progress of calligraphy and painting art.
In the future, I will continue to devote myself to the criticism and research of calligraphy and painting art, and strive to provide the public with a more in-depth and accurate evaluation of art. I believe that with our joint efforts, the art of calligraphy and painting will be able to bloom with more brilliant brilliance and bring more beauty and inspiration to our lives.
What does "trivial" really mean? This is a phenomenon that relies too much on personal subjective feelings and emotional colors in the evaluation of calligraphy and painting, and ignores the in-depth and objective analysis of the works themselves. This attitude of "light criticism" can easily make critics' evaluations one-sided and arbitrary, and sometimes even mislead the public about the correct understanding of the work.
In my eyes, an excellent painting and calligraphy work should not only show superb skills and unique style, but also be able to convey far-reaching thoughts and rich emotions. When evaluating a work, we should not be satisfied with the superficial visual effect, but should dig deep into the deep meaning and meaning behind it.
Evaluating a painting and calligraphy work requires us to have a comprehensive and meticulous observation and in-depth and objective analysis ability. Only in this way can we truly understand and evaluate the value of a work of painting and calligraphy. We should not only focus on the technique and style of the work, but also on the ideas and emotions conveyed by the work, as well as the cultural and historical context reflected in the work. Only in this way can we conduct a comprehensive evaluation of the work and provide accurate and objective evaluation information to the public.
We should abandon the attitude of "lightly commenting on heavy theories" and evaluate calligraphy and painting works in a more comprehensive, objective and in-depth way. Only in this way can we better appreciate and understand the works of calligraphy and painting, and can we better promote the development and progress of the art of calligraphy and painting.
I'm not completely denying my subjective experience. Art, in essence, is the melting pot and refraction of emotions. However, we must recognize that the emotional experience of an individual is only one dimension of a work of art, not a comprehensive criterion. Instead, we should focus on the artistic depth and historical value of the work itself.
It is my fervent hope that the vast number of art critics will change their perspective from "understatement" to "in-depth analysis". Only in this way can we truly promote the prosperity and development of the art of calligraphy and painting.
We should not only pay attention to the surface form of the work, but also dig deep into the artistic concept, historical background and social value behind it. Like explorers, we need to explore the hidden stories and deep meanings of each work. Only in this way can we truly understand and appreciate the uniqueness of works of art, and can we contribute to the development of calligraphy and painting art.
Let us work together to promote the development of calligraphy and painting art with a more in-depth, comprehensive and objective evaluation method, only in this way can our art cause usher in a more prosperous tomorrow.
Author: Wang Guilai (Editor-in-Chief of Tianjin Calligraphy and Painting Art Network).
March 6, 2024.