Tradition and Innovation in the Handscroll, in Beijing, 2008 - Essay Example

Tradition and innovation in the Handscroll, in Beijing, 2008 Generally, Handscroll art is considered as the traditional way of unleashing artistic creativity because the same represents painted image and documentary history. To be specific, the traditional Handscroll artists follow certain guidelines (say, Jiangjiu) while displaying their Handscroll. On the other side, the Handscroll created and displayed by Zhang Yimou, during Beijing Olympics (2008), links tradition and innovation by amalgamating the basic elements of traditional Handscroll art with new technology. One can see that Zhang Yimou’s electronic Handscroll is symbolic of the transformative power of new technology in changing people’s way of creating art. To be specific, Zhang Yimou did not try to discard traditionalism, but linked the same with new technology by allowing modern technology to enter the realm of traditional art. Similarly, the electronic Handscroll is symbolic of the transformation of general views on art and its connection with time element because the artist tries to link the unknown past with present. Besides, the artist provides ample importance to the entertainment value of the electronic Handscroll because he needs to satisfy the domestic and internationals viewers in general. Thesis statement: The research on the amalgamation of tradition and innovation in the Handscroll, in Beijing, 2008 proves that traditional Chinese art accepts modern technology the same sheds light into the rich traditional Handscroll art in China, new technologies change people’s way of creating art by motivating domestic companies to develop core technologies, and it transforms the general view on art by connecting unknown past and present in general (special references to the electronic Handscroll created by Zhang Yimou and its relationship with traditional Chinese art). This section is broadly divides into: Traditional Handscroll art in China and modern technology, New technologies and change people’s way of creating art, and The transformation of general views on art and its connection with unknown past and the present. A. Traditional Handscroll art in China and modern technology Brief history of traditional Handscroll art in China One can see that the handscroll art in China is interconnected with the Chinese way of presenting traditional paintings. For instance, a handscroll will be in the form of a lengthy scroll consisting of paintings and the Chinese calligraphy. Besides, this sort of scrolls is not for formal display, but to spread on a flat surface and to enjoy the landscape painted on the same. Maxwell K. Hearn stated that, “To “read” a Chinese painting is to enter into a dialogue with the past; the act of unrolling a scroll or leafing through an album provides a further, physical connection to the work” (5). Those who view the handscroll cannot view the same as a whole because it is done section by section so that the individual viewer can have minute view of the landscape. To be specific, the traditional Chinese handscroll is symbolic of a continuous visual journey through Chinese landscape. The protective cover of a handscroll is symbolic of Chinese heritage because it is made in silk with rich decoration. Besides, the wooden stave, silk cord, wooden roller etc on the handscrolls are symbolic of the importance given to the same within traditional handscroll art in Chinese context. From a different angle of view, the handscrolls are symbolic of Chinese history. For instance, the origin of handscrolls is interconnected with the development of writing and the art of calligraphy in China. One can see that the people of China made use of handscrolls as painted image and documentary history. To be specific, ancient people in China depended upon bamboo or other type of wood to write, paint, and to do calligraphy work. For instance, during the reign of the Han dynasty, artists used natural materials like bamboo to unleash their artistic creativity. Later, the invention of silk and paper revolutionized the context of Chinese art because it helped to prepare attractive handscrolls. Within this scenario, people depended upon handscrolls to preserve texts because it was lasted long and was easier to handle. But the invention of paper limited the scope of handscrolls in preserving texts in the form of scrolls. Later, after the reign of the Three Kingdoms, this art form (say, handscrolls) became prominent in preserving and enjoying paintings. The development of handscroll art proves that the Chinese artists were interested in amalgamating past with present. To be specific, the Buddhist monks made use of handscrolls to preserve their religious teachings in the form of texts. The Ming dynasty accelerated the development of handscroll art by conducting special gatherings for the handscroll artists. Within this scenario, handscroll artists used to share their ideas and it helped to improvise their future artworks in general. The format of a handscroll suits the modern art form of cinema. To be specific, an individual viewer can enjoy a handscroll like a cinema. Still, a viewer can control his/her view by controlling the handscroll. Besides, modern Chinese artists show interest in preserving this ancient art form because they know that the same acts the role of a link between ancient time and the present condition. So, the brief history of traditional handscroll art in China proves that handscrolls in Chinese context are symbolic of painted image and documentary history, and the attempt to amalgamate past with present. The electronic handscroll created by Zhang Yimou Zhang Yimou, the renowned Chinese artist was authorized to direct the art section of the Beijing Olympics. According to Bronze Goblet, the electronic handscroll was the centre of attraction during the opening ceremonial program (“[1080p HD] Beijing 2008 opening ceremony cultural performance part”). One can see that world nations consider ceremonial programs of international events as important because the same is symbolic of the smooth relationship among world nations in general. Within this scenario, the electronic handscroll created by Zhang Yimou is important to China because it helped the host nation to connect itself with other nations within cultural differences. As the mastermind behind the art section, Zhang tried to link traditional Handscroll art in China and modern technology. To be specific, this director represents the 5th generation of directors within Chinese film industry. So, one can see that Zhang represents the continuous flow of artistic creativity within Chinese art, especially within film industry. Besides, Zhang’s prior experience in the field (say, other Summer Olympic contests) helped him to get selected as the director/choreographer of the art section of the Beijing Olympics. The handscroll created by Zhang was the largest Chinese Handscroll in electronic form. To be specific, the handscroll represents the Chinese government’s attempt to link traditional Handscroll art in China with new technology. The handscroll proves the Chinese obsession towards traditional art and the effort to display the same in electronic form. Besides, the director made use of Chinese dancers in projecting the electronic Handscroll. The artistic section started with a short film named as Beautiful Olympics. This film focused upon the importance of inventions in the Chinese society as a whole. To be specific, the invention of paper was projected as most important because it helped the Chinese society to go beyond the limits of traditionalism. At the end of the first section, the electronic handscroll was rolled up and the stage was set ready for other displays. Then, apart from painting, an LED scroll projected the development of pottery in China. One can see that this is symbolic of the importance of fine arts in Chinese context. Besides, the following displays provided ample importance to animated graphics on LED scroll. For instance, the dancers in white costume danced and painted on the paper surface fixed on the background of the stage. To be specific, this sort of amalgamation of traditionalism and new technology is symbolic of the invention of Chinese ink and its revolutionary effect on Chinese painting. After this display, the stage was filled with music, symbolic of the importance of music in Chinese culture. In the end, the stage was ready for the digital display of the world renowned painting named as A Thousand Li of Rivers and Mountains by the renowned painter Wang Ximeng. In short, the electronic Handscroll created by Zhang Yimou is symbolic of China’s history and its rich heritage within art in general. B. New technologies and change in people’s way of creating art The electronic Handscroll and most advanced media technology in China One can see that the electronic handscroll is symbolic of the most advanced media technology in China. The Chinese government shows keen interest in accelerating the development of media technology. Besides, the authorities considered the Beijing Olympics as an opportunity to display China’s advancement in the field of media technology. The ceremonial program started exactly at 8o’clock in the morning. Besides, the stadium was filled with national and international viewers, consisting of government officials, Olympic officials, and media technicians. One can see that the advanced form of Chinese media technology was most helpful to co-ordinate the stage settings and the movement of hundreds of dancers and other crew members. Besides, the mastermind (say, Zhang Yimou) behind this international event was aware of the fact that a choreographer’s service is utmost important to co-ordinate this event in a successful manner. So, he decided to seek help from a renowned choreographer named as Zhang Jigang. Both of them were aware that the international viewers are expecting something special from them. Besides, they knew that their electronic handscroll will be the centre of attraction within the ceremonial program. Similarly, the government decided to make use of the ceremonial program as an opportunity to display the most advanced media technology in China. For instance, advanced technology helped a renowned gymnast from China (say, Li Ning) to get suspended in the air during the ceremonial program. This was really innovative because it helped the viewers to feel that the ceremonial program took place in a virtual real world created with the help of advanced technology. The general notion on Chinese media is that the same is under the direct control of the government. This is partially correct because the government is constantly monitoring the mass media, but there are certain relaxations within the commercial aspects of mass media. To be specific, rapid growth in international competition forced the Chinese government to realize that totalitarian control over mass media cannot result in progress. Within this scenario, the government allowed the art director of the ceremonial program to make use of the most advanced media technology in China to project his electronic handscroll as the most important medium. So, it is evident that the electronic handscroll represents the most advance media technology in China. The electronic Handscroll and the amalgamation of tradition and innovation The traditional art in China, especially handscroll art and painting, can be considered as the pinnacle of South Asian Art. For instance, handscrolls are related to painting, sculpture (wood work) and calligraphy. Besides, handscrolls are used during ancient times to preserve knowledge in the form of calligraphy and paintings. So, the people of China are deeply interested in preserving this art form. But one can see that it is difficult to follow the strict guidelines related to the handscroll art. Dawn Delbanco stated that, “In unrolling the scroll, one greets a remembered image with pleasure, but it is a pleasure that is enhanced at each viewing by the discovery of details that one has either forgotten or never noticed before” (N.pag.). So, the authorities decided to authorize Zhang Yimou to amalgamate tradition and innovation. On the other side, the director decided to inculcate innovation into the sphere of his artwork. For instance, the director planned his artwork as a short film related to the history of his motherland. This innovative measure was helpful to amalgamate traditional art with modern technology in general. To be specific, the director did not try to discard the basic elements of viewing handscroll art. Instead, he created a virtual real ambiance within the stadium and made use of Chinese dancers to connect Chinese traditional art with modern technology. But the director’s prior experience in the field (art, cinematography and choreography) helped him to combine all the elements of art into a single whole. Similarly, Zhang decided to make use of domestic materials to present his artwork in front of the domestic and international audience. Besides, the art director knew that his artwork (say, digital handscroll) will be evaluated as the pinnacle of technological advancement in China. One can see that the director made use of a number of materials produced by China’s aerospace sector. From a different angle of view, the government was interested in projecting China as a technological hub capable to conduct grand events like Olympics. Similarly, the core technologies behind the ceremony were developed by domestic companies. This is really innovative because the world nations were looking towards China on her successful completion of Olympic Games. Besides, Zhang knew that the success of an international event is evaluated on the success of opening/closing ceremonies. Within this scenario, Zhang had prior experience in the field because he co-operated with a number of opening/closing ceremonies within international Olympic Games in different nations. Similarly, the technological advancement in China after the Chinese government’s decision to motivate domestic sector proves to be successful. Within the scenario of Beijing Olympics, the authorities decided to make use of domestic technology as the base of core technology. Similarly, the director’s decision to make use of his electronic handscroll to amalgamate tradition and innovation proved to be highly innovative and successful because it helped his nation and himself to gain international acclaim. C. The transformation of general views on art and its connection with unknown past and the present The basic differences between traditional Handscroll art in China and the electronic Handscroll The traditional handscroll art in China is generally considered as a private activity because it is popular within the domestic circles of the mainstream society. Besides, the importance of handscrolls as the medium to preserve knowledge limited its popularity beyond the Chinese society. Similarly, the people considered viewing handscrolls as a ritualistic process related to their traditional life. Besides, the handscroll artists provide ample importance to certain guidelines related to the display of the same, and it is generally known as Jiangjiu. The viewers know that they must follow the guidelines because it is related to their tradition. For instance, the process of unrolling a handscroll is ritualistic because it must be unrolled from the right side. Besides, enough time will be provided to the viewers to admire and study the painting as part by part. One can see that slight pause while unrolling a handscroll can arouse anxiety in the minds of the viewers. If the handscroll is displayed as a whole, the viewers will face difficulty to perceive the painting as a whole. So, the artists will not unfold the handscroll, but they will try to inculcate dramatic elements into the painting. After the viewers view a particular section, the same section will be rerolled and the artist will lead the viewers towards the next section. This will help the viewers to perceive each and every element of artistic creativity within the artwork with less effort. So, it is evident that the traditional handscroll art in China is with certain restrictions within the scenario of Chinese art. On the other side, director Zhang knew that he cannot ignore the basic elements of handscroll art within his motherland. Besides, he was aware that his effort must result in the transformation of general views on art and its connection with unknown past and the present. To be specific, director Zhang represents the new generation of artists in China, who are deeply interested in the continuity of traditional art forms. For instance, he used a giant electronic handscroll in the form of a giant electronic paper because he knew the importance of handscroll art within Chinese context. Besides, the electronic handscroll is symbolic of the technological innovation in China. One can see that it is essential to link traditional art with modern technology because this innovative measure can help traditional art to survive in the modern world. From a different angle of view, it is evident that director Zhang’s aim was to present traditional handscroll art in new form. For instance, director Zhang knew that international viewers will not appreciate the strict rules related to the process of viewing Chinese handscrolls. As pointed out earlier, the process of unfolding a handscroll is different in Chinese context. If Zhang decided to follow the Chinese rules related to handscrolls, the international viewers may not be able to enjoy it in its fullness. So, he decided to spread the electronic handscroll to both sides. This was really innovative because it transformed the general views on handscroll art and its connection with unknown past and the present. Electronic Handscroll’s Entertainment value within Beijing Olympics 2008 and the attempt to connect unknown past and present One can see that an art director will be interested in the entertainment value of his/her artwork. Within this scenario, Zhang knew that his artwork is with immense entertainment value, but he cannot discard the traditional elements of the same. When he tries to provide importance to the rich heritage of handscroll art, the same will lose its connection with the present. On the other side, the government is interested in exploiting the entertainment and business values of the Olympic Games and the handscroll art. Thomas L. McPhail opined that, “Because of the Beijing 2008 Olympic Games, China’s total advertising revenue in 2008 had a 29 percent increase of that in 2007” (310). So, the art director must try to connect the unknown past with the present. To be specific, the art director must conduct research on the unknown past of Chinese civilization and find out the importance of art. Similarly, the art director must find out an apt and innovative medium to present the result of his research work. Here, the art director came to know that handscroll art is the best possible medium to communicate with the domestic and international viewers in general. Still, the entertainment value of the handscroll is utmost important because the same is the focal point of the ceremonial program of Olympic Games. So, the art director aimed to exploit his electronic handscroll’s entertainment value within Beijing Olympics 2008. In addition, the electronic handscroll helped the art director to project China as the land of traditionalism and scientific advancement. The Chinese government was interested in the business value of electronic handscroll because it helped the government to prove that they are not against the basic values related to traditional art forms. Similarly, it is important to connect the unknown past of China from cave paintings to the present technological innovation and prosperity. The art director chose Chinese handscroll because he adopted traditional art to unleash his artistic creativity. Besides, the art director’s interest is not limited with choreography or stage art direction. Instead, it extends towards other fields like production and acting. From a different angle of view, the art director knew that his society will not accept modernity without a traditional touch. If he accepts modern technology within the ceremonial program at the Olympic Games, his society will not accept him. If he tries to satisfy the international viewers, be will be forced to discard the traditional handscroll art form. But this is impossible because modernity cannot understand traditionalism and traditionalism cannot accept modernity in its fullness. So, the best possible way to deal with this problem is to connect the unknown past and present with the help of a medium. Within this scenario, the art director chose the easier way, i.e. to link traditional handscroll art with modern technology. Besides, the Peabody Award gained by the art director proves that his electronic handscroll became an instant hit. The national and international opinions on the electronic handscroll displayed during the opening ceremonial program prove that the art director provided himself as a successful and effective choreographer too. Besides, the art director’s interest in the direction of stage programs helped him a lot to have a deeper understanding on the interest of the international viewers. This is important because a ceremonial program of an international event unmasks the creativity and ability of the host nation. Frances K. Gateward stated that, “Indeed there are now signs that China is poised on the threshold of a new era of cultural and artistic efflorescence, as well as the rapid development of a commercialized popular culture” (37). Here, the art director created his own visual presentation of traditional art in the form of modern technology. To be specific, the art director’s contributions transformed handscroll art into an innovative medium which can communicate with international viewers. Similarly, Zhangs electronic handscroll is symbolic of the human urge to keep away from conflict and to enjoy inner peace. One can see that mutual agreement and international peace are the main themes of international events like Olympics. So, the art director tired to provide a visual treat to the viewers by sharing the message of mutual agreement and peacefulness. In short, Zhangs electronic handscroll was helpful to transform the general views on handscroll art because it connected the unknown past with the present technological innovation in China. Summing up, the grand success of Beijing Olympics 2008 as an international event is indebted to the Chinese government’s proper planning and it is evident in the vividness of ceremonial programs. Within this context, Zhang Yimou’s role is noteworthy because his role as the mastermind behind the electronic handscroll elevated the ceremonial program into a virtual real level. For instance, he proved that traditional Chinese handscroll art is ever ready to accept modern technology. Besides, his effort to inculcate innovation with traditional art proved that new technologies can change people’s way of creating art. The history of traditional handscroll art in China proves that the same is interconnected with the traditional way of preserving knowledge and enjoying artworks in China. Besides, the electronic handscroll represents the most advanced media technology in China and it amalgamates traditionalism with modernity. This sort of innovative initiative can transform the general view on art because art cannot be confined within traditionalism. Besides, the electronic handscroll created by Zhang Yimou and its relationship with traditional Chinese art proves that the world renowned artists are aware of their role in connecting unknown past and present. Besides, the art director was aware of the electronic handscroll’s entertainment value within Beijing Olympics 2008 and the stage performance can considered as his effort to connect unknown past and present. In short, the electronic handscroll represents the Chinese spirit of traditionalism and the global effort to bring forth peace among nations. Works Cited Delbanco, Dawn. "Chinese Handscrolls." In Heilbrunn Timeline of Art History. The Metropolitan Museum of Art, 2000. Web. 12 May. 2015. Gateward, Frances K. Zhang Yimou: Interviews. U.S.: Univ. Press of Mississippi, 2001. Print. Goblet, Bronze. “[1080p HD] Beijing 2008 opening ceremony cultural performance part.” Online video clip. YouTube. YouTube, 19 Oct. 2013. Web. 12 May. 2015. Hearn, Maxwell K. How to Read Chinese Paintings. New York: Metropolitan Museum of Art, 2008. Print. McPhail, Thomas L. Global Communication: Theories, Stakeholders, and Trends. West Sussex: John Wiley & Sons, 2010. Print. Read More