Li Yufan's "Yu Bai" Theory And The Study Of The Relevance Of East Asian Art

In the late 1960 s,the rise of “Mono-ha” art in Japan had a significant impact on the modern and contemporary western art circle.“Mono-ha“"uses western modern artistic methods to express the pure spiritual concept of“the Eas“,which sets a model for how to built East Asia’s o“n moder“ity.China’s attention to the "mono-ha" is also growing.In recent years,the "Mono-ha"exhibition and Lee Fan’s solo exhibition have been held many times in response to the desire to form self-cultural identity on the international art stage after China’s economic prosperity.The study of the contemporaneity and Orientalism of the "Mono-ha"is of great significance to the theory and creation of Chinese contemporary art as a great oriental country.Lee Ufan,as the core figure of the "Mono-ha",led the direction.Lee Ufan is the only artist in the "Mono-ha" who has been trained in systematic philosophy and involved in art.His creation is more philosophical.And it is he who published a series of criticisms on Sekine Nobuo’s "phase earth",which contributed to the formation of the theoretical basis of the "Mono-ha".Therefore,the study of Lee Ufan is of great value in grasping the "Mono-ha".The personal research on Lee Ufan is still very scarce.At present,the focus of domestic research is more on the whole "Mono-ha".It analyzes the formation process,background and artistic language of the "Mono-ha" to grasp the artistic thoughts behind the "Mono-ha".Lee Ufan’s personal interpretation of the "Mono-ha" of the classic case slightly explained.Therefore,I take Lee Ufan’s point of view "Yu Bai theory" as the center,explore the relevance between modern Oriental Art and traditional Oriental Art and aesthetics from the perspective of Lee Ufan’s individual,and sort out how the tradition completes the transformation of modernity."Yu Bai" theory is Lee Ufan’s summary of his own artistic creation and concept.The core of this paper is from interpreting the concept of "Yu Bai" theory of Lee Ufan’s,to analyzing how to embody the concept of "Yu Bai" in his works of art,to analyzing the relationship between "Yu Bai" theory,East Asian aesthetics and East Asian art.It can be divided into the following three chapters:The first chapter analyzes the difference and identity between Lee Ufan’s "Yu Bai theory" and traditional East Asian aesthetics,so as to demonstrate the connection between them.The "blank" a“d "non blank" of "Yu Bai theor“" a“e based on the dialectical relationship between the objective things and the subjective “uman consciousness as well as the idea things under the consciousness production.It emphasizes that the human will society formed under the background of industrial technology needs more attention to return to the existence of natural things.This is consistent with the concept of "harmony between man and nature",which is discussed by the center of traditional oriental philosophy.The second chapter compares the artistic creation of Lee Ufan and the traditional East Asian works of art,connecting the same ideas in the specific artistic form with the characteristics of "Yu Bai theory".The comparison of Lee Ufan’s installation works and traditional courtyard art,Lee Ufan’s painting works and East Asian traditional ink painting forms the confirmation of the concept of "the unity of man and nature".The third chapter is an analysis of the historical background of the emergence of "Yu Bai theory" by Lee Ufan.It is related to the development of modern and contemporary art in Japan,as well as the "Yu Bai" painting and Zen tea integrated art concept influenced by Zen in Japanese traditional art.Thus,it proves that the two factors work together to lay a foundation for the emergence of "Yu Bai theory".Through the study of Lee Ufan’s “Yu Bai’s art“,we can further understand the commonness between the “mono-ha“ art concept and Chinese traditional culture and even the whole East Asian culture.It is of great reference value and positive significance to connect national culture and expand thinking to the whole oriental asian culture in order to think about how to develop Chinese contemporary art in the tradition.