Ink Painting - Lingnan School of Painting - Essay Example

An Ink Painting About Ink Painting: One of the most fascinating areas of social change, in Asian art, is the historical period in which war and then revolution in China, Soviet Realism, Japanese and Western art influences, and the juggling of traditional Chinese values converged in dialogue, and the Lingnan school emerged and developed. This paper will consider how the Lingnan School of Painting contributed to the innovations of the traditional Chinese ink painting, and how it influenced the traditional Chinese ink painting. In doing so, consideration will be given to what were the defining characteristics of traditional Chinese ink painting; what were the dissatisfactions articulated by the emerging Lingnan School; how the Lingnan style distinguished itself, in both their underlying philosophy and the art through which they expressed it; and in what direction(s) has the Lingnan school led, in its influence on Chinese ink painting. There were a number of defining characteristics of traditional Chinese ink painting, prior to the emergence of the Lingnan School. These defining characteristic might be arranged into the following categories: The audience The painter The subject The painter’s materials The painter’s technique With respect to the audience, traditional Chinese ink paintings were not created for common people or for a mass audience, but were generally privately-commissioned and intended for an elite audience only 1. Because the usual form of the painting included calligraphy and poetry, as well as painting and signets, it was done by educated scholars, for whom it was their esoteric passion 2. As such, the traditional Chinese ink paintings were often too lofty to comprehend 3. For this reason, they had a limited appeal, though very beautiful. The painter was, in a mystic way, the subject of his/her own painting, whether the apparent subject was landscape, flowers, or animals. The painting expressed the sentiment of the painter, of course, but it was more intimate than that. The painting expressed also the personality of the painter, showing who he/she is. Furthermore the painting was intended to develop the painter. “’Your painting is who you are” is the theoretical tradition on which Chinese ink painting has always been based”4. It can be understood that all painting, by artists, should develop their skills. Traditional Chinese ink painting was understood to be more profound than this. The painter painted and developed intellectually and spiritually. It was about the deepest aspects of being and the sensitivity of consciousness 5. Landscape paintings, for example, were lovely and set a mood. More than that, they communicated the emotion that the scholar-poet-painter experienced in that environment. Beyond that, the mountain or waterfall or other landscape setting shown, revealed the personality of the painter, for those who understood how to read the clues. It was not merely a painting for an audience, but it was an opportunity for the painter to reflect and develop personality and spirit. It was this painted high being-ness that the elite audience of traditional Chinese ink painting was looking for and paying for. In appreciating a painting, then, the audience appreciated Spirit and Consciousness. It was conceptual, rather than visual 6. The subject of traditional Chinese ink painting was always painted in an abstract manner. From the 10th century to the 20th, it was thought that realism somehow cheapened the aesthetics of a painting. So, Chinese traditional ink painting was always expressionist, and not realist, and eventually even the selected subject itself was abstract. For example, a favorite subject of traditional Chinese ink painting, by the nineteenth century, was Taoist and Buddhist teachings. It is no wonder that the subjects of the paintings, for 800 years, were considered by later painters to be aloof from worldly affairs 7. The subjects painted were human figures, landscapes, flowers and birds. These three categories, however, are more broadly interpreted than they sound. Pragmatically, fish, bamboo, blossoms, fruits and cicadas are included in these categories. Painting human figures is the oldest traditional theme, and was the primary theme until the end of the Tang dynasty 8. Landscape paintings were inspired by Taoism, which encourages being alone in nature. Landscape paintings, especially with mountains and water, became popular in the 11th century 9. Although humans and the natural world comprised the overt subject material, at a deeper level the subject was philosophies of consciousness and spiritual experience, and how they impacted the painter who communicated that impact through the moods and beauty of nature. The painter’s materials are quite different from those of a Western painter. The Chinese traditional painter uses writing brush, ink stick, rice paper, and ink-stone. Rice paper is used in Chinese painting because its texture allows the ink-wet writing brush, in a skillful, trained hand, to move freely, with a variety of strokes. Paintings were generally presented, respectfully and formally, in a scroll 10. Of course materials other than rice paper can be used. Silk has always been a favorite, and there are ink drawings on bowls, fans, porcelain, screens, and even on the walls of tombs 11. The painter’s technique is critical. There are firm rules about it and, in fact, the way traditional ink painting was always taught was through the student copying master paintings. Brush discipline is the essence of Chinese painting. The painter must master a variety of brush stroke: thick and thin, rapid and slow, strokes with a syncopated rhythm, turning and breaking, square and round. Through these strokes, the sensation of the object’s touch is communicated. Chinese painting is very particular in applying colors. The colors are made from natural mineral materials and animal shell. They are weather-tolerable and do not fade. The painter tried to show the original colors of the objects 12. Western ideas about the Law of Proportionality are not shared by Traditional Chinese ink painters. Westerners relate two unequal parts of a whole, to create a balanced image. The Chinese creates balance differently than that. Instead of the Western "focus perspective", Chinese paintings have "spread-point perspective", which givers a more sensitive proportion 13. Traditional Chinese painting does not bother about the change of light and colors on objects. It more freely describes objects, with more attention paid to emotion and total arrangement. In Traditional Chinese ink painting, the blank field becomes an integral part of the painting. The amount and placement of blank spaces (unpainted spaces) becomes critical in conveying an aesthetic mood. It enriches the artistic expression of the painting 14. It provides spaces in the natural world in which to feel emotion and contemplate privately. A too-busy painting demands constant stimulation, but a painting with blank spaces honors also the silence. This technique is “no-ink”. Here is an example of a traditional Chinese painting, showing the use of no-ink: Figure 1 On the one hand, in traditional Chinese ink painting, we see that great discipline is required; that rules and techniques must be observed; that the field of appropriate themes is historically designated. We see that the painter paints, and in so doing, he develops his personality and character. On the other hand, we see that the painter falls into the natural setting and surrenders to it; allows it to work on his emotions and psyche; has a mystical connection to it and communicates the experience to the audience. In that sense, the painter is enlightened; carried above the illusory material world; enters the blank spaces, the silence; then expresses this so that others can fly like he or she did. There seem to be conflicting notions of individual self (communicating self in the painting and following the rules of tradition in order to become really good), and beyond that, the spontaneous no-self (the experience of materiality as illusion, a half blank painting, imaginary objectification, emotional connection without full form). Suk-mun Law states that traditional Chinese ink painting is conceptual and not visual, and that it is closely related to Taoism 15. In reading what she had to say, understanding began to coalesce that two influences are reflected in the Chinese philosophy underlying traditional ink painting: Confucianism and Taoism. Stocking identified a parallel conflict between the importance of individuality, in painting, and veneration of tradition. Noting that the conflict is actually in the Western mind, and does not trouble the Chinese at all, Stocking observed that: Confucian practice of calligraphy provides the essential technical equipment of the painter, and a ready-made audience of experts in brush work, while the final criteria for judging the excellence of painting is closely related to the experience of the Taoist mystic. Moralizing on the Confucian side of the coin takes the form of transmission of ideal types and subjects in painting, while the Taoist commitment to spontaneous use of the brush, on the other side, leads toward the unconscious lodging of individual moral character--and, conceivably, all within the same painting 16. Having established some definition and understanding of traditional Chinese ink painting, let us now turn attention toward uncovering what the complaints were against it, at the time of the emergence of the Lingnan School of Painting. One very basic complaint was that it was old and stale, a hackneyed style that no longer aroused the spirit 17. This is an unfortunate complaint because it cuts to the very heart of what traditional Chinese ink painting was designed to do. If it no longer communicated higher states of being and no longer refreshed and advanced the spirit, then it was failing at a very elemental level. With tastes of Japanese and European art, painters expanded their perspective and felt ready for something new. They were gaining some exposure to realism, especially European and later Soviet realism. It felt exciting after so many centuries of abstract expressionism. They wanted to incorporate some of the foreign influences, while retaining what is most precious about their national style18. They wanted to be adventurous and experimental and not be suffocated by rules that indicate there is only one right way of doing things. They had no interest in abandoning their heritage, but rather in jump-starting it and updating it, so that they could feel connected, at some level to the world beyond China’s borders. They wanted recognition on a global scale, and this cannot be achieved through the self-isolation of fanatical conservatism. They wanted to engage in worldly affairs, not to remain aloof. Another area of dissatisfaction involved access. With Communist ideals being discussed, it was natural to question access having been so long limited to the elite. Should not art belong to the people, the common people, to everyone? Access was an issue, not just in the common appreciation of art, but also in the “crony institutional norms of Chinese art academia established by conservative art scholars in monarchical era”, as Lee Kwun Leung Vincent commented, in his analysis of Lingnan School painter, Xu Baihong 19. Lingnan refers to the southern area from which the school emerged. It was founded by ink painter brothers, Gao Jianfu and Gao Qifeng. The School became one of the three main schools which sought to reform traditional Chinese painting in the early 20th century. The Gao brothers used the Lingnan School to promote their political agenda. They advocated the over-throw of the imperial system, a national government and a new national painting style 20. The Gao bothers spent many years in Japan , studying Western art and Japanese art. The nationalist art style they struggled for was heavily influenced by nihonga (Japanese art). They wanted an art style that would be for the common people, and not the exclusive property of the scholarly elite. The nationalist revolution had a parallel goal; they wanted a government for the common people, not for the elite 21. Gao Jianfu did a painting of a bi-plane squad. The painting also showed a classical pagoda. This painting carried a message of propaganda, to inspire support for nationalist aviation, but also to include Chinese tradition, not to totally abolish it while reaching out for new interests, technical expertise and progressive style 22. This is also the perspective of the Lingnan School: to integrate traditional Chinese with Western artistic influences; to be inspired by new ideas, techniques and styles. The painting was unusual because of the biplanes (an unheard of theme) but also strange was the idea that art could have a clear message. The Gao brothers believed that art should carry a message to people, in an effort to inspire social change 23. This was an idea of applied art, meaning that this idea of art was in service to an agenda and not at all removed from worldly affairs, but right in the middle of them. Every field of endeavour and school of thought has its characteristic phrases that guide actions and shape ideology. Examples from the Lingnan School were: Drawing on influences from China and the outside world, merging elements from ancient and modern times Taking Nature as one's master, and emphasizing the art of painting from life. Gao Jianfu cautioned, however, that in being faithful to Nature, you still need to see your own ideas and refine a vision through your own soul, so as to determine the aesthetic of a picture and strengthen the overall effect. In order to convey a message, with one’s art, powerful imagery is helpful. Gao Qifeng used lion imagery as a symbol of the strength and power and dignity of China. His brother, Gao Jianfu, liked to use Eagle imagery. Gao Qifeng’s lion is shown resting after a battle. Gao Jianfu’s eagle is shown dominating the picture, flying above the chaos of waves and a tilting rock, indicating strength and fortitude and power 24. Painters in the Lingnan School like to paint lions and eagles 25 . Lingnan School painters combine vivid realism with free expression. Paintings of animals show a very realistic bearing and physique, so that the animal seems to be alive, in the painting. The flexibility in brush technique use has added variety to the portrayal of imposing mountains, vividly rendered trees and the texture of rocks. The Lingnan School painters brought something new to the field of Chinese art when they began emphasizing shading. They have made extraordinary use of the no-ink technique (liubai), leaving large blank areas, something that was first learned from their teachers, but further developed. The influence of the Lingnan School of ink painting would be insignificant, if it represented merely a passing phase of technique and style. But it represents so much more. It was founded on some very strong ideas and the reverberation of those ideas is still ringing today. The Gao brothers agreed that art should improve society, and therefore it had to be easily and commonly accessible 26. They had a shop in Shanghai, and this was the first place in China that sold Chinese ink painting to the common people. For the first time, the purchase of art was not intimidating to a 1st time buyer. Never before had such art been so easily obtainable. This was to have a far-reaching influence as art is now available from many shops in China, and in many delivery forms 27. Another far-reaching effect is the ongoing dialogue in China between Socialist realism and Chinese traditional. With their use of art for delivering messages to the people, and their style of making art political and in service to revolutionary agenda, as well as widely and easily accessible, and including the best elements of Chinese traditional, the Gao brothers were articulate contributors to the shaping of this ongoing dialogue 28. The Gao brothers and the influence of the Lingnan School live on in successive generations of ink painters who continue to experiment with new techniques and new ideas. One caretaker and developer of this Lingnan School heritage is Au Ho-Nien, the greatest living Lingnan School Master 29. His teacher’s teacher was Gao Qifeng, Lingnan School founder. Au Ho-Nien is a scholar of the classics and he writes poems on his paintings with forceful calligraphy. To keep his work vibrant and fresh, he frequently takes trips into the mountains, across rivers to remote and beautiful places where he can immerse himself in nature 30. Au's style includes broken textural strokes and the dry rubbing effect of a partially dry brush. He likes to use ink tones and color washes without outlining, so that he can emphasize dimension and distance . Here is an example of his style 31. Figure 2 Another artist is Wan-Chiann Wu. She is a woman ink painter, so that in itself is uncommon, and she was a student of Au Ho-Nien. She combines Chinese and Western perspectives, in her paintings, and pursues a deep emotional involvement, which is also rare in ink painting. In this example of her work, Snowflakes Quietly Descending (1999), we see her individuated style: escalating intensity of brush work and colour as one is pulled into a picture in which people are moving away on a snow-covered New York road. The mood invoked is inward and the traffic lights are like traditional Chinese lantern 32. Here is a blending of East and West, mood and silence, Chinese tradition and New York. Figure 3 Snowflakes Quietly Descending (1999) Not only the techniques and openness of Lingnan are still influencing ink painting today, but also the revolutionary fervor in which the Lingnan School emerged and developed. But the latest revolution is not a Communist one, calling for the liberation of the common people and abolition of elite privilege. It is a feminist revolution, calling for the liberation of Chinese women under patriarchy and abolition of male privilege. Artist soldiers in this revolution include, for example, Chen Qing Qing, who constructed a peep box, from a coffin, with a scene of Tiananmen Square inside, lined with troops. Each little soldier was a golden phallus 33. Another feminist revolutionary is Xiao Lu, who used a concealed weapon to shoot two bullets into her entry in a show in Beijing. Her art was in response to her molester, who hung up on her when she confronted him later 34. Her shot-up piece is quite famous. Dr. Wong is an 80 year old, Lingnan trained, still active painter. In 1996-97, she painted Female Boat-Haulers of the Sui Emperor Yang, a 15 foot painting. There are gentle women yoked together in a classic mountain landscape. Their faces express pain and anger as they struggle to pull the Imperial vessel 35. The Gao brothers would surely have approved of these three women, using art to deliver a social message and inspire social change. This paper has considered the defining parameters of traditional Chinese ink painting. We have next considered the dissatisfaction that ultimately evolved, in response to traditional Chinese painting, and the call for change with which the Lingnan School emerged and developed. After looking at the parameters of the Lingnan School, we explored the lasting influence the Lingnan School had on Chinese ink painting. Finally, we considered some specific artists, in order to identify contemporary expression of the Lingnan School influence. In doing so, we came full circle, back to the beginning inspired by the Gao brothers. Because this paper is also an example of ink work, that makes this paper a painting of immediacy, vibrancy and balance, with plenty of blank spaces in which to focus on silence, imagination, self. Bibliography Crozier, Ralph. Art and Revolution in Modern China. Berkley: University of California Press, 1988. Hor-Chung Lau, Joyce, “Bringing a Woman’s Touch to Chinese Art Scene.” The New York Times, Arts, (Jan. 20, 2011). “Ink-Wash Master Au Ho-Nien,” http://www.lingnanart.com/articles.htm “Lan-Chann Wu: A Woman Painter in the Chinese Ink and Brush Tradition,” http://www.thetranquilstudio.com/Lan%20Chiann%20Wu%20by%20Paula%20Dematte%202011.pdf “Politics and Art: The Lingnan School,”http://www.pdfszone.com/pdf/art-politics.html Stocking, John Robert, “Tradition and Individual Talent in the Theory of Chinese Painting.” Circle, (1968): https://circle.ubc.ca/hande/2429/36612 Suk-mun Law, Sophia, “Being in Traditional Chinese Landscape Painting,” Journal of Intercultural Studies, vol.32, no. 4 (2011): 584-615. “Traditional Chinese Painting,” http://www.chinaodysseytours.com/special-topic-about-china/traditional-chinese-painting.html Wang, Xuning, “The Realist Tradition of Chinese Painting and my Cross-Cultural Practice.” In Crouch, Christopher, ed., Contemporary Chinese. Amherst: Cambria Press, 2010. pp. 91-110 “Xu Beihong: Painting as a Nationalistic Propoganda of Enforcing China for Political and Ideological Changes.” http://www.rangepcc.com. Read More