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wong tsz mei Art Blog

Innovation coalesced with continuing Chinese qualities(part 2)

by tszmei , January 24, 2011—12:00 AM

Topics: omniscience of the cultural…, quintessence

3)Establishing an yardstick of successful modernization

This article could only afford an overview of related artistic developments in China through some works of several contemporary Chinese artists whose creations reflect their new aesthetic approaches depending on how much they apprehend Chinese culture. The artists being selected is from the book (走向世界的中國書畫藝術).The radical discoveries is excluded from the study. To determine the norm of assaying the freashness and commitment with which new ideas were developed in a Chinese context is of the first importance.As the Orthodox School in Qing Dynasty (1644-1911) combined the characteristics of old masters and achieved the great synthesis from which the quintessence is the unmistakable signature,we first view a masterpiece of Wang Yuanqi (1642-1715). The landscape was imbued with a sense of archaic bluntness and forceful simplicity which encapsulated the long and sophisticated humanistic tradition bound up with the cultivation of high-mindedness. As if in a trance the artist__™s whole being was concentrated in the tips of fingers which wielded the brush to paint. The landscape is not a graphic expression,not the sensitivity to the mood of place or an eccentric, obsessive intensity of vision; it is an imperturbable self-possession resulted from his omniscience of the cultural legacy of a nation,that nothing could hinder the whole tenor of the conception,and with dexterity he gave himself full ruin to pursue all the square melody of the intricacies of brush and ink.However, it is not an extemporization, as our antients said___five days to depict a mountain,ten days to render the form of water___,that landscape is the most difficult in the artistic domain to render. It is not wonder that we refer landscape painting as National painting.

Therefore Chinese art,especially landscape,is not just having an impetus of its own;it should perpetuate the lineage of Chinese culture and the artist should reveal the facility of manipulating brush and ink. Wang yuanqi spiritedly rendered his landscape with changeful lines and capabilities of subtle tonality;the manifold ingredients combined to form an organic whole as cognate with the protean vitality of nature. Therefore the rough sketched trees , the vegetation are vivified with the life-giving lines and dots;the pithy contours of the mountainous region aim directly at the hidden clockwork of nature,not just reflecting human experience by pure visual expression and spatial relations. In China, the landscape is a projection of the animated spirit consonance of a cultivated intelligentsia with nature. Efficacy or fribble of the innovation of National painting pivot on how far the artistic endeavors orient to the sustainable development of the cogent forces of a powful tradition.At present the glance over a handful of contemporary artists who were born not eariler than the fifties of 20 century, can just review what they have done in the courses of their persurations. An artist__™s invariable place of historic significant is a matter of posthumous reputation which could only be ascertained by the future critics and is beyond the scope of every commentary of the present age.



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