Combing Out - Restarting Chinese Contemporary Art

Xia Kejun

Chinese contemporary art has arrived at a critical juncture. On one hand, the light, flashy, and cartoonish representations of the contemporary art model over the past two decades have been in a state of decline. They lacked the contributions that body language bestows on a painting as well as any spiritual, cultural, or historical depth. On the other hand, how do we re-excavate artists who have already made their contributions, and their artworks? “Combing out” the historical status of neglected works serves as a starting point for the future of Chinese art and the “restart" of new possibilities. This is, without a doubt, the most urgent task at the moment.

Thus, the first mission is to “comb out” an alternative model different from those already narrated. This model would be able to link history and help us find the transformative road that lies innately within Chinese contemporary art. This would act as a starting point for Chinese contemporary art to take a further step into the world at large. In fact, 20th century Chinese artists, such as Zao Wou-Ki and Teh Chun-Chu, have already made their contributions to the world of art. We want to establish a link of historical traditions that passes through 20th century modern art and towards an aggregate blueprint for the future and the world. At Soka Art Center, this exhibition, Combing Out - Restarting Chinese Contemporary Art, puts on display the works of fourteen artists as an attempt to “restart” a new direction for Chinese contemporary art.

And so, the artists and their works in this exhibition can be considered relatively important. It displays the results of meticulous collection by Soka Art Center over the past twenty years, which serve as contributions to many aspects of art history:

First, this exhibition displays the personal collection of the director of Soka Art Center, Mr. Xiao Fuyuan. It embodies his personal tastes and unique level of sensitivity towards art history. He has avoided the past two decades of pop art. After all, as a Taiwanese person, he has his own desires for his personal collection. These collections reflect his substantial cultural background and artistic tastes. From his earliest collection of works by Lin Fengmian in the 1980’s to the later works of Zao Wou-Ki, Teh Chun-Chu, Xu Bing, and Hong Ling, Xiao continues the context regarding the innate transformation of Chinese art - a path that combines Eastern and Western art. From this exhibition, we are able to observe the unique style that has belonged to Soka Art Center for decades. This exhibition crosses the regions of China and Taiwan, as well as the old world of Europe and the new world of America, to manifest the global scale of contemporary Chinese art.

Second, this exhibition helps us comb out a new route of art and rewrite the history of Chinese contemporary art, thus paving a new road for art. As a part of the earliest wave of students that went to study abroad, these artists attempt to integrate Chinese culture with the world, especially with the spirit of ink. Lin Fengmian is a teacher who belongs to the first generation of artistic pioneers. Subsequent artists, such as Wu Guanzhong and Zao Wou-Ki, have all studied abroad in France. Their pedigree is different from the later official ideologies expropriated by Xu Beihong’s realism. Instead, more emphasis is put on the life experiences of the artists as well as their pursuit of an artistic body language. This served as a quest for artistic conception and innovative language. This is not a nation-state narrative, nor is it an ideological demand.  Instead, the exploration of art itself serves as a goal in life. A mutual direction is held in an attempt to find a point for integrating Eastern and Western art, which unearths a new kind of universal language.

Third, this exhibition sets a definite direction for future Chinese art; it restarts the field and establishes a new beginning. The event attempts to supply a possible direction through the works of the artists and their formation of an artistic language, providing a blueprint to aid our discussion of contemporary Chinese art. This exhibition clearly possesses a strong academic nature.

Traditional Chinese art features an independent language system, especially in ink and brush artworks. Yet, what way is there to implement a full range of conversion along an artistic dialogue with Western modernity through the perceptive modes, thought processes, and spiritual realm of ink? This is a complex process of exploration in which the practice of art is faced with a dire need for discussion regarding art theory. We can see that different artists have their own goals and ambitions. We also see a gradual process of dialogue with Western modernist art.

We can attempt to divide the process into several sections. It is not an evolution of development or progress, but rather a continuous process of enrichment.

This first section focuses on individuals from across two generations who studied in France, Most of these artists were born between 1910 and 1920. The first of these individuals is Professor Lin Fengmian, who was born in 1900. He combined a cubist style with the lines of Chinese figure paintings, forming his own simple yet elegant rhythm. Following him is Zao Wou-Ki, who incorporated the basic strokes of traditional landscape painting and the hook and dip ink skills into the brushstrokes of oil painting. He integrates the ambiance of landscape paintings into the light perceptions of Western chromatic aberration, while moving towards abstract lyrical landscapes. Yet, he still retains traditional imagery so his works are not purely abstract. Meanwhile, Teh Chun-Chu integrates the strong light perception of Western contrasts in brightness with the flourishing vitality of rocks found in landscape paintings, letting abstractions return to their natural state. The students of Lin Fengmian, Zao Wou-Ki and Teh Chun-Chu continued to stay in France, contributing immensely to the world with their oil paintings. Two other disciples of Lin have been different, however, with their preferences in ink. Wu Guanzhong returned to China and combined the architectural forms of southern white walls with black tiles, which were simplified versions of black and white contrasts of ink. This constituted his own sense of oil paintings, which drew out vivid ink lines from millennia of Southern withered lifelines. It has also resulted in the establishment of a dialogue with Pollock’s rotary vertigo abstract lines. Chao Chung-Hsiang went to New York in America to further develop his skills. He integrates pure black ink color blocks and calligraphic strokes into a passion for life, merging geometric patches with cultural totems and symbols. He also uses the beauty and flow of ink on materials to compel fluorescent colors and religious auroras. Another artist, Walasse Ting, went to stay in America. He uses the simple pleasures of Eastern atmospheres, finding his own style of bright lines and colors that echoes those of Henri Matisse and Sanyu. His depiction of female torsos features gentle feminine qualities paired with a sexy Western physique. They are infused with joyful colors and a sense of Eastern charm, which is a sight rarely seen in Chinese artists.

We can say that the key point of the first section lies in restoring the spirit of nature from Western abstract language for forms. Whether it is physical or conceptual, in colors and brushstrokes, or in shapes and forms, they all possess a strong Eastern rhythm along with an international visual language.

The second section places Ju Ming, Liu Guosong, and Shang Yang in the role of representatives. The artists of this stage were mainly born between 1930 and 1940. These artists are more conscious in their return to the natural characteristics of the East. Purely starting from these natural characteristics, they integrate production with nature. Liu Guosung was originally interested in the tearing of rice paper to produce tactile sensation.  These works serve as modern imaginations regarding the sky and universe, as well as a reconstruction of the relationship between art and nature. He influenced the entire modern ink movement in mainland China, and is considered the founder of modern ink. Shang Yang’s massive work, The Dong Qichang Project, displays human reflections regarding the destruction of nature. Using methods such as chapped rips, photo collages, and abstract and simplified stones, Yang prompts us to reflect on the destruction of nature. Painting Album and other minor works provide a new look at Mi’s Cloud and Smoke through new traces. The sense of time exuding from across the image enable the retention of cultural memories of landscape paintings, while revealing idealistic sensations and revisiting the ancient atmosphere of landscapes. Ju Ming’s sculptures in the Tai Chi Series enable people to feel the physical ambiance of stone through the essence of Chinese kung fu, using simplified forms with prominent spiritual connotations. They are very classical Eastern sculptures.

The third section consists of Xu Bing, Cai Guo-Qiang, Liu Dan, and Hu Lei. The majority of these artists were born in the 1950’s. The artistic features of this section provide an additional emphasis on the concepts of Western Art. Besides Hu Lei, who was born in 1960, the rest of the artists resided mainly in America, and conceived their own artistic language. Xu Bing’s Book from the Sky and Ancient Air Poem by Libai transform Chinese characters into fake words. It uses excessive Chinese wisdom to elevate the interpretations of Chinese characters into a form of purity, bringing with it a deconstructive shock. Ancient Air Poem by Libai transcends the limitations of Eastern and Western cultures by turning Chinese characters into English and letting the modern art theme of “the self and others” obtain the best artistic expressions. It also invokes a calligraphic ritual. Unearthing traditional technological inventions, Cai Guo-Qiang uses the momentary energy of explosives to leave marks on paper, thus expanding the tactile quality of ink. Not only does it embody the nature of water, but also that of fire, resulting in a good combination of sporadic production and concepts. The two other artists, however, chose to return to the classics, bringing classical styles into contemporary sentiments. Liu Dan’s ink paintings incorporate Western classical statues, Northern Song Dynasty landscape paintings, and daily visual illusions into a rigorous structure through delicate brushwork. He returns paintings to their original classical positions, while retaining the natural essence of Eastern landscapes as an attempt to re-render the eternal nature of Chinese art. This is a fundamental direction for the future of Chinese art. Hu Lei blurred brushwork juxtaposes the natural moon with a horse that symbolizes dreams. It brings with it an obscured vision along with the hint of a poetic fantasy.

The works of Hong Ling, who was born in the 1950’s, are in dire need of discussion. He is a northern artist who felt the need to embrace southern nature. As a result, he conducted an in-depth exchange with Huangshan for twenty years. He fully integrated the perceptions and thought processes behind landscape paintings through the colors of Western paintings of scenery. Especially in his repeated depictions of snowy landscapes, he completely revives the traditional concepts of emptiness and desertion to expand upon the spirituality of Zao Wou-Ki. This approach takes us on a complete return to nature, more so than his previous lyrical abstractions, to reach a tacit level of understanding between nature and our souls.

Through a basic study of these three sections and the three generations represented, we can see that all these artists draw on various aspects of tradition. We attempt to establish a dialogue with Western modern art to form an individual language style and revive the eternal nature of Chinese art. The mission of Chinese painting is summarized with the following question: After Zao Wou-Ki, how can we thoroughly and abundantly rebuild the relationship between the spirit of nature and modern life, while integrating landscape paintings with those of scenery? Indeed, it is necessary to re-stimulate natural elements and activation of a Chinese artistic spirit. This will inevitably restart a new future for Chinese art.