Hu Zhiying

From Wikipedia, the free encyclopedia
In this Chinese name, the family name is Hu.
Hu Zhiying
胡志穎
Born (1959-11-12) November 12, 1959 (age 61)
Ganzhou, Jiangxi Province, China
Other namesYuling
Education
Occupation
  • Artist
  • poet
  • professor
Employer
Known forArt, Contemporary Art, Literature
Notable work
  • A Collection of Works by Hu Zhiying
  • Beyond the Chains of Illusion— Hu Zhiying's Paintings 1989–2009
  • Experience and Transcendence: Hu Zhiying's Art 1987–2017
  • On the Paramitality in Literature
Awards
  • Won the Merit Award of the International Palm Art Award 2010, Leipzig, Germany
  • Won the Exposure Award, New York, USA (2015)

Hu Zhiying (Chinese: 胡志穎; pinyin: Hú zhìyǐng; born November 12, 1959) is a contemporary Chinese avant-garde artist and art educator. He works within the areas of painting, installation, video art, and conceptual art. His artworks are displayed worldwide, and he has taught painting and calligraphy at the Guangzhou Academy of Fine Arts and South China Normal University.[1][2][3][4][5]

Life and career[]

Early years[]

Hu was born in Ganzhou, Jiangxi. His ancestral home is Xiangyin County, Hunan.[1] He was part of the "Class of 1977", the first group of Chinese students to take the National College Entrance Examination after its resumption in 1977.[6][7] He graduated from the Art Department of Jiangxi Normal University.[4] In 1987, he was admitted to the Guangzhou Academy of Fine Arts and studied in the Department of Chinese Painting.[1] During his graduate studies, he joined the 1989 June 4th Democracy Movement.[8]:224

About the Transiency of Art[]

In 1990, Hu's master's thesis About the Transiency of Art was labeled as "not in line with Marxist principles" and was rejected by Chi Ke, director of the Theory Teaching and Research Section of the Guangzhou Academy of Fine Arts.[9][10][11][12] He was denied the chance to defend his thesis and eventually failed to acquire his diploma and master’s degree certificate. At that time, young teachers (including those of the Theory Teaching and Research Section), postgraduates who had finished their program, and those who were studying at Guangzhou Academy of Fine Arts jointly expressed their opinion to the Academy and higher-level authorities that academic freedom should be respected and learning should not be confused with administration.[12] Wang Huangsheng, a professor at the Central Academy of Fine Arts, said: "Therefore, Hu Zhiying got himself into trouble with his brilliant paper About the Transiency of Art, and the mere presentation of his personal meditation was considered a challenge to the so-called authority."[10]

The full text of About the Transiency of Art was published in Northern Art, journal of Tianjin Academy of Fine Arts in 2001. The title of his thesis was included in the Index of Theory of Plastic Art of 2001 by the Center of Data from Newspapers and Magazines of Renmin University of China.[11][9]

Career[]

In 2002, Hu received his Ph.D. degree from the College of Liberal Arts of Jinan University with the thesis On the Paramitality in Literature.[1][4][13] His poems are published in Chinese and Western Poetry,[14] Survivors Poetry,[15] etc.[16] Hu Zhiying is also a dissident in mainland China. His articles criticizing the autocracy of the Chinese Communist Party are published in "Beijing Spring",[17] "Huanghuagang Magazine",[18] and Taiwan's Chinese Culture Monthly.[19]

Hu teaches modern art and traditional Chinese calligraphy and painting at the College of Fine Arts of South China Normal University.[20] In the 1990s, he was invited to exhibit his work in Europe.[21][1] Since 2000, his works have mainly been exhibited in China and the United States.[22][4][23] He was invited to collaborate with the Orchestra of St. Luke's (OSL) in New York City in 2020.[24][25]

Art style[]

Technology and media[]

Hu uses materials from Western art and Chinese traditional painting and arts and crafts, such as oils, acrylics, Chinese ink, varnish, silver, gold powder, etc. The lines, strokes, and images in Hu's paintings include the Eastern methods of connecting reality and fiction, conflicting forms, changing visual effects, virtual space forms, and free artistic skills, which dispel real shadows into virtual shadows.[26][27][28]

Wang Huangsheng, an art critic and professor of the Central Academy of Fine Arts, said that Hu's paintings draw lessons from ancient Chinese arts and crafts materials and techniques such as lacquer and ink and wash. They contain images misappropriated from Chinese landscape paintings of the Song Dynasty; for example, the partial images of Ma Yuan's paintings are recombined in Hu's works.[29]

Art form[]

According to Adam Donald, "Hu Zhiying brings together traditional Chinese art with the eclectic styles of the West. He combines traditional Chinese symbolism and landscape with the elements of the various styles of Western art".[26][30][31] French art connoisseur and collector Didier Hirsch also expressed similar views in his article An Artist as Unconventional Personality: On Hu Zhiying.[32] Some critics, including the American critic and curator Robin Peckham, pointed out that Hu's works surpassed the artistic characteristics of reality and reached a religious situation, believing that this is the reason why Hu's art and literature are difficult to interpret.[28][27][33][34][35]

Didier Hirsch believes that Hu's style does not have the characteristics of the new trends of most Western and Chinese contemporary art, but is closer to those masters who left behind historical heritage.[32]

In 2020, Hu was invited to participate in an art and music cooperation project with the New York Orchestra of St. Luke's (OSL). He interwove his paintings Angel IV and Mr. Don Quixote X with musician Eleanor Alberga's symphony The World of Dreams: Shining Gate of Morpheus, aiming to stimulate the audience's imagination by integrating visual art and music and allowing images and sounds to blend naturally.[24][25]

Connotation and allegory[]

Critics, including Robin Peckham, generally believe that Hu's art does not belong to the popular art style in the current art criticism discourse system of realism criticism.[28][36][34][37][35] Art critic and historian Gao Minglu called him "an independent meditator" in Freedom of a Lonely Passenger:

He has substituted the cultural theme of ultimate thinking for Bacon’s original theme. Hu Zhiying’s personal religious tendency leads to his reverence for Bacon’s persevering pursuit, and at the same time Hu’s inherent cultural conviction has determined the freedom and diversity of his choice of resources of image.[33]

Since the 1990s, the aesthetic tendency of Hu's installation art has always been "Natural Aesthetics". "Nature" includes both traditional art and avant-garde art in the modernist period.[38]:120[39][28]

Paul Bridgewater, director of an art gallery in New York City, analyzed Hu's art and wrote:

The installation art of Hu Zhiying is a journey of process and discovery. From his installation work since the '90's where he illustrates an understanding of traditional Eastern arts, where reverence of nature and solitude are explored through a masterful fluidity of art form with complex elements. But as a thinking artist, Hu begins to explore the ephemera of Western Culture. Western motifs insinuate themselves into his work. Hu investigates the overbearing elements of Western Culture, where production and consumption become process of themselves replacing the value of the human consumer.[40][41]

Hu's art has been described as having the spirit of Chinese culture in it, yet at the same time, presenting the original state of the world with disordered space and video code. His art aims to give an illusion of the misplacement or overlapping of time and space between the ancient and the present and to provide a sense of indirect presentation between the picture and its meaning.[42][21]:62[43]:119

Exhibitions[]

Selected solo exhibitions[]

  • Hu Zhiying, Galleria Piziarte (Teramo, Italy, 2008)[44]
  • Art Exhibition of Hu Zhiying, World Fine Art Gallery (New York, 2009)[23]
  • TRANSIENCY AND INDULGE – HU ZHIYING. HUANG SHAOYIN'S DRAWING, K Space (Beijing, 2009)[45][46]
  • Hu Zhiying’s Paintings (1989–2009), the Wall Art Museum (Beijing, 2010)[22][47][48]
  • The installation The Hans Christian Andersen's Fairy Tales (Museum of Modern Art, New York, 2016)[36]
  • Hu Zhiying’s Art (1987–2017) (53 Art Museum, Guangzhou, 2017)[49][50][51]

Selected group exhibitions[]

1990s[]

2010s[]

Hu created and exhibited the following art installations:

2020s[]

Publications[]

Portfolio[]

Major works published by Hu include:

  • Hu, Zhiying (2011). Hu Zhiying zuo pin ji [A Collection of Works by Hu Zhiying] (in Chinese and English) (1st ed.). Fuzhou: Haifeng Publishing House. ISBN 9787551200295. OCLC 862563238.
  • Bao, Dong (2010). Zai huan xiang suo lian de bi an : Hu Zhiying hui hua zuo pin, 1989–2009 [Beyond the Chains of Illusion— Hu Zhiying's Paintings 1989–2009] (in Chinese and English). Hong Kong: WorldCat. ISBN 978-988-18938-0-2. OCLC 728523572.
  • Yang, Wei; Hu, Bin (2017). Ti yan yu chao yan Hu Zhiying yi shu (1987–2017) [Experience and transcendence : Hu Zhiying's art (1987–2017)] (in Chinese and English). Hong Kong: China Artists Publishing House. ISBN 978-988-78237-6-6. OCLC 1100122878.

Monographs[]

The following studies by Hu were published as monographs:

Criticism[]

Art[]

According to Dr. Gao Ling, Hu's theme of art is generally regarded as unclear and obscure, and its aesthetic concepts are divorced from the appreciation habits and interest of the general public. Jia Fangzhou, a senior critic, pointed out that this may be connected with Hu Zhiying's internal needs, which shows that he has displayed a variety of styles. Since there are gaps in interpretations of Hu's art when reviewed from its cultural clues, artistic style, or artistic schema, grasping Hu Zhiying's art as a whole is often thought to be difficult by critics and art historians.[67][68]

When analyzing Hu's art from the perspective of both its schema and concept, Yang Wei noted that they are not connected, and instead are almost completely separate. Wu Hong, critic and curator of the Songzhuang Contemporary Art Archive (China), thought that Hu's art should take into account the logical and coherent relationships among the images from different periods used in Hu's art, and create a bridge between his art and the public's interpretation of it.[68][67]

The critic Bao Dong believed that the rationality of Hu's literary and artistic conception from Kant's philosophy is worthy of further discussion.[34]

Literature[]

Hu's On the Paramitality in Literature is a work on the study of rhymes in Chinese classical literature, his doctoral dissertation. Professor Zhao Yifan of the Chinese Academy of Social Sciences mentioned in the preface of the book that On the Paramitality in Literature is an unfinished project, because it is an unseen, important, chaotic, and difficult subject, and its introduction of the Buddhist concept of "Pāramitā" into literary theory was questioned.[13]:1–2[20][1]

Professor Gao Minglu put forward different opinions on On the Paramitality in Literature. He believed the concept of the "other side," Pāramitā, is too easy to think of as the [note 1][note 2] in Christian spirit and Western classical philosophy; at the same time, it is difficult to get rid of the traditional way of thinking of the binary opposition between "reality" and the "other side" in the West. [33]:56

Note[]

  1. ^ The ultimate concern of Western classical philosophy and theology points to the sacred world of divinity on the other side, so as to transcend the limited life of reality. Paul Tillich, an existentialist philosopher who has made great contributions in the field of philosophy and theology, is the representative figure who explores the ultimate concern.[69][70]
  2. ^ The ultimate concern of Buddhism is to surpass the reality of life and reach the final state of "Tathatā" where everything is "Śūnyatā". The ultimate concern of ancient Chinese philosophy regards morality as noble and more important than life. The ultimate support of human spiritual world is to realize eternal and immortal life with the help of the textualization of spirit.[71]

References[]

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  7. ^ "Relive history with 'Examination 1977'". China.org.cn. 15 April 2019. Archived from the original on 8 March 2018. Retrieved 20 May 2021.
  8. ^ Hu Zhiying (2011). "collected by the Metropolitan Museum of Art". A Collection of Works by Hu Zhiying (in Chinese and English). Fuzhou: Haifeng Publishing House. ISBN 978-7-5512-0029-5. Archived from the original on 2020-10-18. Retrieved 2020-10-04.
  9. ^ Jump up to: a b "Index of Plastic Arts Theory". Beijing: Renmin University of China. 2001. Cite journal requires |journal= (help)
  10. ^ Jump up to: a b Wang Huangsheng (16 February 1997). "The Transiency of Cultural Power——Reading Hu Zhiying". Jiangsu Art Monthly. Jiangsu Fine arts Publisher House. Archived from the original on 2020-06-10. 胡志穎因一篇鴻論《藝術無常論》惹起了一場風波，個人的思考和表達成了對所謂權威的挑戰。
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  12. ^ Jump up to: a b Hu Zhiying (2011). Chronology, A Collection of Works by Hu Zhiying (Chinese-English). Fuzhou: Haifeng Publishing House. p. 224. 1990年胡志穎的畢業論文《藝術無常論》（依學習計劃完成）被廣州美術學院理論教研室主任遲軻扣以“不符合馬克思主義原理”的政治帽子而遭否定，未舉行答辯，未獲畢業證和碩士學位證。當時廣州美術學 院青年教師（包括理論教研室教師）、已畢業研究生、在校研究生聯名向學院以及 上級主管部門反映，表示應尊重學術自由，不應將學術和行政相混淆。（2001年 天津美術學院《北方美術》全文刊載《藝術無常論》。中國人民大學報刊資料中心 將此文編入2001年《造型藝術理論索引》）
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  17. ^ Hu Zhiying (2019). "中國當代官方體育批判". Beijing Spring. Archived from the original on 2019-11-03. Retrieved 2020-10-04.
  18. ^ Hu Zhiying (6 September 2019). "從"邦迪對峙事���"透析美中兩國之間法律和軍隊的本質區別". Huanghuagang. Archived from the original on 12 April 2020. Retrieved 4 October 2020.
  19. ^ Hu Zhiying (10 October 2001). 泛論馬克思主義作為一種理想主義之意義——兼及中國問題的思考. zh:中國文化月刊, Chinese Culture Monthly. Taiwan: 中央研究院 數位文化中心, 典藏臺灣, 數位典藏與數位學習聯合目錄, and Digital Taiwan─ Culture & Nature. 259 (10): 31-46. Archived from the original on 12 April 2020. Retrieved 4 October 2020.
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  28. ^ 王璜生（Wang Huangsheng） (1997). 文化權力的無常——解讀胡志穎. Zh:江蘇畫刊, Jiangsu Art Monthly. Nanjing: zh:江蘇美術出版社 (2). ISSN 1005-6890. 在他近期的作品中，經常出現一些南宋山水符號，甚至很明確的馬遠《踏歌圖》符號，還有紅、黑、金、銀的民間色彩構成和民間髹漆原料，以及筆墨表現性很強的局部抽象元素，由此我們也許可以輕易地將之歸類為東方式的文化影像。但是問題並非如此簡單和清晰，當我們認可於某種東西為基礎以吸納重組時，也許我們碰到的最大難題是對這種基礎的懷疑，我們的吸納和重組在這種懷疑中變得猶豫不定且無所適從。這也許是一種意識過程，也是文化發生和發展的過程。胡志穎正是重視於意識的過程，以意識的過程來表述文化的狀態。於是，在他的畫面，意識一層層地展開，文化的影像層疊顯現出來，追問、懷疑、撞擊成了文化意識本身。
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  36. ^ Yang Wei (2013). The Mirage of Single Person, Visions of Variety. Fuzhou: Haifeng Publishing House. ISBN 978-7-5512-0108-7. 他在1989年前後創作的一批‘抽像水墨’，以一些東方的神秘符號為元素，也無不表現了在西方現代藝術的影響下尋找主體意識的突圍。實際上，這跟‘85新潮’以來，中國現代藝術整體呈現出的影響焦慮，也有著藕斷絲連的內在聯繫。看得出來，胡志穎在繪畫創作上並不是閉門造車，而是一直帶著當代人的問題意識往前推進，只不過受終極理想的價值啟迪，他沒有淺嚐輒止，把自己探索的步伐停止於某個思潮或某個現實問題而已。
  37. ^ Yang Wei and Hu Bin (2017). Experience and Transcendence: Hu Zhiying's Art 1987–2017 (Chinese-English), China Artists Publishing House, Hong Kong, 2017. South China Normal University Library. ISBN 978-988-78237-6-6. Archived from the original on 2020-04-12. Retrieved 2021-02-04. 自1992年創作觀念作品《偽望遠鏡》以來，胡志穎相繼推出的《世紀遺恨錄》、《新康德》、《安徒生童話》等裝置藝術和觀念藝術，與其繪畫作品相輔相成，相得益彰，都是圍繞著現實的困境與社會的頑疾，從思想史的角度尋找治愈方式與精神突圍。
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  42. ^ Yang Wei and Hu Bin (2017). Experience and Transcendence: Hu Zhiying's Art 1987–2017 (Chinese-English), China Artists Publishing House, Hong Kong, 2017. South China Normal University Library. ISBN 978-988-78237-6-6. Archived from the original on 2020-04-12. Retrieved 2021-02-04. 胡志穎正是在這樣一個互文關係中，開始他的材料藝術探索的。可以說，胡志穎九十年代初做的那些材料藝術，既是對國際語言的一種嘗試，也是將其轉換為本土視覺資源的一種探索，而其內在的文化指向，則是生存的壓力與精神的緊張關係。
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