Brief Introduction on Liu Jinglu


In art world, it’s hard to set standard to assess the creativity and artistry of an art work. But it is undeniable that the essence of art is the unique ideas that the artists have about the subjective world. They use their ways to convey this notion to the audience, which, for sure, is relevant to the time. As an artist, therefore, he can not stay away from it—he has to break it, talk about it, push it forward, to keep it true, and to put aside the concerns and restraint in the right field to show our innermost dedication. Liu Jinglu is such an artist. From "Human" series sculpture to “Ideographic calligraphy - Ideographic sculpture", from "Made in China" to “Meet Art in Life”. He uses the Chinese art style and Chinese art language to tell the story of Chinese people. On the one hand, these stories lead us to trace back the origin of our tradition, to think more about some important issues. On the other hand, his stories target at the current social problems, which arouse the audience's deep reflection on the reality. Finally, his method extends the tradition to the present moment and inherits the contemporary concept of literati, showing new cultural connotations and historical chapters.

China, as one of the four ancient civilizations, its characters - Chinese characters have undergone thousands of years: Oracle bone script, Bronze inscriptions, Large Seal Script, Small Seal Script, Clerical Script, Regular Script, Semi-cursive Scrip, Cursive Script and so on. Each of these forms has its own exquisite approach and graceful posture. Behind the evolvement of the writing form is the change of social history and cultural life. Through the wholistic faith, we can trace the ethical concepts and religious beliefs of the ancient Chinese. Through careful study of ancient social classes, we could learn about the history before the community of mortal beings. This is the unique beauty of Chinese characters— broad and profound beauty. However, this kind of beauty is easily overlooked by every Chinese who is accustomed to Chinese characters. As an artist, the re-excavation of the beauty of Chinese characters becomes Liu’s art mission. In a sense, this special issue is not an ordinary album or biography, but rather a record and presentation of Liu's artistic life from an objective perspective. The theme takes the Chinese character elements “Pie Na”, which reflects the humanistic figure “Ren” in Liu’s works. The left "Pie" implies that Liu’s artistic creation originates from the combination of Chinese traditional culture and contemporary concepts, which also intersperses with fragments of Chinese “philosophy". So the viewer can combine the works of artists with the humanistic personality in deep interpretation. The right “Na” symbols  the artist's life in the way of thinking, combing the rich extension of the artist's works and the broad dimension of his individual thoughts, which reflects his balance between art, design and invention to create a more vivid “human" image. Combine the left "Pie" and right “Na”, also yin and yang thoughts in Chinese philosophy, which try to support each other form the two perspectives closely. So the structure of this special issue of Liu  could be presented completely.

It is worth mentioning that the "life" in the title, which contains the life process in normal sense, also echoes the structure of the word “Pie Na". There is a famous saying in The Book of Rites, “People are the heart of the heaven and earth. Therefore, the birthplace in heaven and earth is extremely expensive. The heart of heaven and earth are people, which have the virtue echoing with the heaven and earth.” Let us take a new thinking of the word “human” and "life", tracing the historical origin of the artist Liu Jinglu's creation, to explore the Chinese culture and meaning behind his creation with a macroscopic view.



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