A Cultural Man in the Market Jin’s Art
Abstract
Li Jin, a contemporary Chinese ink and wash artist, participated in the Eighth Five-Year Movement of Thought in
China. Li Jin’s art can be divided into three stages. The first stage is during the Eighth Five-Year Movement, Chinese artists turned
to Western modern art and post-modern art. The process of learning, and Li Jin’s artistic style presents expressionism, such as
Tibetan group paintings. And the second stage is that after 1989, Chinese art has undergone a new turning point. The lofty and
philosophical avant-garde art of the 1980s has declined, because intellectuals throughout China clearly understand that the right to
speak is always in the hands of the power, and power is Justice and discourse, the brush for writing history is not for the general
public, so after 1989, there was a gap in culture and a decline in spirit. He spoke with a hippie smile and a cynical attitude, so
cynical realism, political pop art, female art, with the emergence of gaudy art, the artist’s perspective has changed from a macro
perspective to a daily trivial matter, generalized and secularized. At this stage, Li Jin’s art expresses the things of family life,
presenting private space. The third stage is after 2000. Due to the changes of the times, market capitalism has allowed Chinese
contemporary art to gain some official status. In this modern China where consumerism and pragmatism are popular, Li Jin directly
intervenes in his self-image to express his feelings and memories of this social fragment. Even though there are many personal
sensibility elements, the artist is using his own eyes and beating heart to feel that it is a kind of reality, not the real nihility in the socalled history textbook. These are the three stages of Li Jin’s art. The main topic of this thesis is Li Jin’s daily expressions based on
the theme of gourmet beauties from the 1990s to the present, writing market culture from the first perspective of ordinary people.
The thesis is divided into three parts: the first part is to discuss Li Jin’s expression of beautiful food. The second part discusses Li
Jin’s perfect integration of traditional ink painting and contemporary society. The third part is to discuss the turning and criticism
of Li Jin’s art in the global context.
China. Li Jin’s art can be divided into three stages. The first stage is during the Eighth Five-Year Movement, Chinese artists turned
to Western modern art and post-modern art. The process of learning, and Li Jin’s artistic style presents expressionism, such as
Tibetan group paintings. And the second stage is that after 1989, Chinese art has undergone a new turning point. The lofty and
philosophical avant-garde art of the 1980s has declined, because intellectuals throughout China clearly understand that the right to
speak is always in the hands of the power, and power is Justice and discourse, the brush for writing history is not for the general
public, so after 1989, there was a gap in culture and a decline in spirit. He spoke with a hippie smile and a cynical attitude, so
cynical realism, political pop art, female art, with the emergence of gaudy art, the artist’s perspective has changed from a macro
perspective to a daily trivial matter, generalized and secularized. At this stage, Li Jin’s art expresses the things of family life,
presenting private space. The third stage is after 2000. Due to the changes of the times, market capitalism has allowed Chinese
contemporary art to gain some official status. In this modern China where consumerism and pragmatism are popular, Li Jin directly
intervenes in his self-image to express his feelings and memories of this social fragment. Even though there are many personal
sensibility elements, the artist is using his own eyes and beating heart to feel that it is a kind of reality, not the real nihility in the socalled history textbook. These are the three stages of Li Jin’s art. The main topic of this thesis is Li Jin’s daily expressions based on
the theme of gourmet beauties from the 1990s to the present, writing market culture from the first perspective of ordinary people.
The thesis is divided into three parts: the first part is to discuss Li Jin’s expression of beautiful food. The second part discusses Li
Jin’s perfect integration of traditional ink painting and contemporary society. The third part is to discuss the turning and criticism
of Li Jin’s art in the global context.
Keywords
Ink and Wash Art; Market Culture; Beautiful Cuisine.
Full Text:
PDFReferences
[1] Lu Peng. Chinese Contemporary Art History: 2000-2010[M]. Shanghai People’s Publishing House, 2014.
[2] Wu Hung. Take his own way-Wu Hung on Chinese contemporary artists[M]. Lingnan Fine Arts Publishing House, 2008
[3] Wu Hong. Works and Exhibition: On Chinese Contemporary Art[M]. Lingnan Fine Arts Publishing House, 2005.
DOI: https://doi.org/10.18282/l-e.v9i4.1731
Refbacks
- There are currently no refbacks.
