The article/ Josef Ng

The geographical centre of Contemporary artand culture, regardless in where, is in constant change. In the 1950 s, through music, visual arts, and live performance culture upgrade, inspired by radiation from Paris to New York. This kind of influence in the western world until in the 1980 s, Japan began to occupy a place in the direction of contemporary culture. Now, the pattern of the western world dominating culture has been a rapid development from newborn, the challenge of the future of power -- that is the whole Asia.

Since globalization spread to China for the first time, the pursuit of personalized and spread quickly in a short time, became a highly with symbols of the consumer as the guidance of the information society. Especially in the big city such as Beijing, Shanghai, chengdu, due to the development of economy, society and culture cpassing cloudspt of blending is becoming a standard, city people joined the pop culture; Rural women fall in love with tights and lipstick. The men began to pay attention to their appearance. Side is the objective reality of socialism, one side is a luxury, it is a complete exploration of material change.

For the modification of self has been more and more media attention, they will be the pursuit of lifestyle to create a perfect image, behavior and personal style in a revolutionary movement. Simply put, if looks could kill, and we will see in the streets of China than in the country originated from the symbolism of the color more red. Red, after all, is, and also in the future, will continue to be a communist revolution, the unity in fifty years ago the ideological root of the country - the symbol of color.

Now, however, unite the country what most americans (or should I say the unity) is the constant and the type of capitalism economy side-door ideology in Chinese social transformation. In a huge traditional roots and modern has a precarious balance between changes. Like other areas of China high speed of industrial development, the country's visual arts from the mechanical development of social realism tradition to unfettered exploration of diversification. In the traditional cognitive and cross-cultural conflict between response, most of the Chinese Contemporary artexpressed for respect in today's China's increasing social reality.

As an artist, LingJian career with this change, innovation, differentiation of redifferentiation of creative process. In Beijing to accept education LingJian moved to Hamburg, Germany more than 20 years, has just returned to the capital of China, two years ago with his country's society to practice.

LingJianZai born in the year 1963 in their works into the portrait art aesthetic, created a stunning art subject. According to his words, his characters from his daily life, seen from his thoughts. Perhaps more importantly, as an artist, living abroad for so many years LingJian also is in the taste of what is happening around him with the amazing transformation of values. LingJian paintings focus projection to face rich charm. By the description on circular screen for positive portrait, we can't be attracted to these larger than life-size image, the image looks like a difference exists between the reality and imagination, and between deformation. Westerners appearance and long and narrow eyes, bony figure these belong to the Oriental characteristic more perfect union; Even the Buddha was long eyelashes, deep red lipstick these feminine characteristic and secular and elegant.

In its early years of a series of Buddha as the theme of painting, as a devout buddhist LingJian showed a change situation, the spiritual driving force a step backwards from the physical desires and perfect. This is an acute fable, show us how vulnerable position in the society, it is more and more dependent on our appearance, or even how beautiful turned into the illusion of international of the desire of a pronoun. In other words, "longing for beauty and material perfect in fact have replaced for the pursuit of spiritual perfection." See this a series of paintings, we find ourselves in the middle of the junction of reality and fantasy, here become a fantasy reality, become a reality and fantasy.

His new realism painting skills not only make his works has a high ornamental value, LingJian expression in his works he also for the standard of social and interpersonal elements and the understanding of mediocrity. He tried to make his dream for wisdom and humor, and ironic point of view, and the content is lives in his pen. In his early two called "Asian fashion Sabina 1 and 2, we see in one picture was of a Caucasian woman put her finger on both sides of the upper half of the light on her face; In the other picture, her fingers seemed to be back some, this created a pair of long and narrow eyes, a typically associated with the Chinese face image. At the same time, there is nothing in his art is above in a single experience. Those aspects of harmonic color, environment and performance, as well as more subtle poetic expression and tone of metaphor are brought to the imagination for the viewer. On the foundation of the success of his early portraits, LingJian gradually in recent years from the facial image to systemic performance development.

LingJian for full of personal response to express the complexity of social reality, continue to use the brush to show the appearance of processed the men and women, although the latter picture more, their release in this material world has infinite possibilities. He for these fashion beautiful costumes and style manners innate understanding of his creation of image based on the values of the illusion of foundation. In his creation of new works series began in 2006, ling athlete irony and wise attitude and today in his life environment seems to be fixed by the idealized idolization and () the objective existence of together, to cause the attention of people. Obviously, this is a by a vast emerging media advertising and fashion lifestyle magazine confused by landscape. The advertising and magazine was introduced into China only about a dozen years.

In his definition of women in the physical world, they make all the delicacy and the symbol of the superior class. They fair skin, bony figure, from the doll's hair to as a silky hair, has become the background of the shine jewelry and fine clothes. Not only that, in all his creation of the characters, both lips bit hung giant gem decorations, or lips half rev sipped cherry, or just gazing at that kind of temptation, which reveals a kind of erotic. At the same time, he added into nostalgia element with resonance in advertising, to create a decisively gesture or static meditation will naturally reveal the faculties of sexy. These always bathed in a hazy natural light offline, the enigmatic figure of static, is always the essence of LingJian painting language.

就像艺术家本人所表达的那样，“女人是一种特别环境下多种个性与生活方式的集中体现，这是为什么说女人引领着这个时代的变迁。”As expressed by the artist, "the woman is a kind of special environment of the cpassing cloudsntrated reflection of personality and life style, this is why women lead in this age of change."

We may also note that the male image in the art of LingJian don't often appear, and when the male image appears, he is usually simply as a necessary supplement to exist, to establish a kind of attitude of equality between men and women in the modern aesthetics.

These paintings are still in the traditional level and decision level shows the new personality, implements to the feeling of life and a kind of special existence of clear expression. This includes for today's fashion and accessories, tide is the trend of these beautiful people into cultural signs, the ultimate extreme delicate, sensitive ". But as a kind of structural scheme, not all of the image are to be flawless. LingJian not only to the reality, identity and imperfect to admit, at the same time also allows vulnerability and minor things appear in his paintings. Although they have dreamland of image, but looks fragile and innocent. Both as the tears of blood moving, the cheeks of the permeability of blood on the arm of the bandage and left faded logo on the body, they have pierced their tender skin marks the bleeding wound small flags. All of these with the trace of meaning in his works, including "don't cry for me 2", "Beijing bar 3", and the cycle of "love red makeup love armed 3" and so on.

These portraits in the artist in today's society for the country cultural change becomes conspicuous rich penetrating power of observation. The rapid development of society is from the old, decaying China jumped to the capitalization of the environment today. And that is exactly what this change in the grand appearance, it is neither accepted by these two kinds of state, but also because of these two kinds of state and trembling. In this environment, LingJian through his painting put yourself in the intersection of the world, let the different ideas in the cluster.

Often use the human body as a painting art fulcrum, which fills the world to make it become the measure of all things the mark. These faces and posture, in general, the ability to define the "beauty" of new China? From the artist's point of view, this undoubtedly become one of the ideal pursuit of material we hungry world. In this context, with a precise definition for "beauty" for personal wearing tights. Like LingJian passing clouds said, "in my these 'beautiful men and women in the picture only shows the Chinese people and their for new nationalism and they drive new findings about aesthetic satisfaction."

LingJian art power essentially has the very strong dramatic, these paintings at one end is a kind of charm toward melodrama power, and the other end is toward the erotic political direction. From the details of the social cultural environment to symbolic performance, will be its shape as in the local and worldwide cultural phenomenon to explore the nature of process of changing.