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Let us talk about “history” ——
It seemed as if the far and near flickering stars are hidden in neon lights of city， without a trace； like a sand castle on the sea gulf， it is constantly rebuilt and pushed down in the rain and tide. History， this meaningful word， is incorporated into the present life with bearing of thousands of years and modern rapid transition， but it turned to a soft “cloud” in the heart of “70s”and “80s” painters miraculously. The “cloud”floats in the sky without aim， carrying with the “time” and the secret matters in young person’s heart. During the moment of glancing back and moving of a finger-instantly， an apathic， flatulent and fragmented shadow is left.
The wandering “origin” like a shadow is put into ink， dyed and born…therefore some viewers felt the expansible ego and nothingness that no one to depend on， in the paintings of “70s” and “80s” painters at their puberty. They stay alone under the solemn and quiet space-time， with the brush in their hands. Often， the emotion in the heavy grisaille painting is subtle and refined. “Mental imagery” is gradually enlarged under the stress filling with “big” and “small”， “heavy” and“light”. The wide world is like a vision that rotates around self…Based on this， the artistic creation of “70s” and “80s”painters are always considered as the model of “lack of historical consciousness” and “refusing to grow up”， by the media and the public.
If you are addicted to the real-time ego so much and get away from self-renewal and transforming the society， your expression must not be sufficient. However， whether the painting of “70s” and “80s” painters is only the narcissistic“castle in the air” in empty “dense fog”， as some people worried about？
What kind of art that one generation can provide not only has relation with the talent， but also depends on human’s destiny shaped by the historical change. Over“the ocean” of time， “70s” and “80s” painters are only the “little dust”. They stop to see the distant past and future. However， history they experienced is so different. They have the plentiful world. In the 1980s， China was in the reformation for all. The imported and traditional thoughts， and those ideas that are entangled and contradictory each other， all appeared by crossing the territory and slipping the time. In their “hungry” mind that experienced cultural desert， those thoughts and ideas are like trees with different-flavor full fruits. These fruits smell so sweet， fanatically pursued by people in the good faith. “70s” and “80s” painters faced this “feast” of philosophy and culture not long after they were born， so they must become “dyspepsia” due to “overnutrition”. The “focusing on history education”in school has been away from them， however， the rules of market and desire are infiltrated into everywhere in daily life， taking their all energy. They try hard to“touch” the old secondary data such as history book， but still cannot identify the“complex texture” long time ago. There is no existing resource for reference and no consensus for the present experience either. Too “wonderful” culture “food”makes “taste buds”of“70s” and “80s” painters numb before it is aroused fully. Therefore they long for the pure and blank； different ideas were “de-structured”each other in questioning， obtaining a “chaotic world”， so they selected to the voice inside their heart.
When the “noise” flows into “spirit river”， they are lonely. With the dramatic change of society， in memories of “70s” and “80s” painters， the connection between individual and history， individual and society， as well as individual and group is cut apart ruthlessly， so calmness， loneliness， anxiety， escaping and the like become times symptom. Facing the strange situation， young life shows one and one lonely individuals. Around the corner， their figures that they insist on resisting are more thin and lonely. So is not seeking in art the same？ “Today， artists do everything to try to cater to the flavor of the public by using various means outside and inside the art， but except for the transaction price of artwork， who cares what the artists do in their studios and what they want to express in their exhibitions？”（Ye Yongqing） The exhibitions are constantly held in art gallery， bustling crowd is in front the famous work， the sound of pressing shutter appears beside the ears…how many bosom friends are there under the numerous and complicated representation？
“Whether the ‘70s’ and ‘80s’ painters refuse to enter the world， or the world refused the entry of‘70s’ and ‘80s’ painters”（Jin Li）. Although the heavy“historical consciousness” did not restrict “70s”and “80s” painters any more， the history has already caused their unbounded personality. Therefore they can deal with the change of colorful world with their “sensitive feelers” and respond to the history through their characteristic expression. Even if“Balzac” type literary and artistic creation， it should be completed by means of the particular individuals. The expression of true emotion of individual is imbued with the evaluation and criticism for the reality. Paintings of “70s” and “80s” painters showed the recall for a literature man’s tradition where it is a pure land of soul and eliminated dust due to the time going far away. The paintings “washed” the dirt and “exhaustion” of real life， and “opened” a blue sky above the “armored concrete forest”. Sometimes， in the traditional and classical paintings， we found that the industrial products as well as the sportive figures and their spirit on the paintings are like the outsiders. “70s” and “80s” painters look coldly within the history as a cage， continually reflect and try to subvert it. Furthermore， their works also expressed the contemporary life and self-image， showing the restlessness of youth， vision for the dream and compromise for reality…tearing out the mask， they connected all“moments” that they care about together to express their own comprehension. All this is the most authentic reflection for the historical circumstance. “70s” and “80s” painters are exploring a kind of form which fits in with the rhythm of mind in the present era. “Standing”there， it makes all language， ideas and analysis silent. Opening to the history means opening to the contemporary era. In the present era， no matter how to indulge in your personal world， if you live in earnest and feel in good faith， your artistic creation must reflect back the strength of time， as well as “sparkle” from heart due to collision with this strength in a certain level. It is not necessary to mysteriously bring in the “fable” and “image”. If you extract out your own “salt particle” from the “life sea”， to put on your “tongue of daily life” for chewing and feeling， if you make every real memory of life become the source of art innovation and make the emotion expression in painting clear， it will be the most touching profundity and also the best way that a painter undertake obligations of the times.
The poem is much longer than history. Finally the history will “go far away”， the experience in heart will “walk out” from the time and become fresh and vivid. Like dreams， circular story as well as poetry and wandering of youth， they are expressed by the painting， to create the “palace” of “70s” and “80s” painters living with the “time”. Listening to， the history is passing through the room！