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"Ink painting, Chinese Technique."
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Chinese brush painting : a beginner's step-by-step guide
Learn first about the tools and materials, then painting techniques. Early pages explore the very basic painting methods and subjects, but continue to build skills for painting plants and animals of increasing complexity.
Book
Figure Painting: Fragments of the Precious Mirror
This chapter presents an interpretive study on “figure painting” (
renwu hua
) in dynastic China between around the fourth century CE, when painting emerged as an art, up to about 1800. It first examines scenes from the early masterpiece,
The Admonitions of the Court Instructress
, and provides a flavor of the genre by exploring issues such as representation of outer appearance and inner self. The chapter then presents an investigation of the genre in light of its normative function as a moral mirror to society, and a consideration of the body, its representation, and presentation in Chinese figure painting. The first half of the historical span of figure painting (fourth‐thirteenth centuries) saw not just the emergence of the picture‐scroll medium but, in parallel, a whole taxonomy of ink outline modes related to individual pictorial idioms.
Book Chapter
Beyond ink: China's young neotraditionalist artists
The concept of Chinese ink art is not solely defined by the materials and tools used; it also refers to an entire aesthetic and cultural system. In the previous issue of 'ArtAsiaPacific' (Issue 85, Sep/Oct), I discussed how young ink painters from mainland China - particularly those born after 1970 - are finding their own voices in the traditional tools of ink and brush. Yet there are also young artists who are meaningfully referencing the age-old \"ink aesthetic\" through the use of new artistic media and techniques, exploring the possibility of the transformation, extension and reconstruction of a time-honored genre within a postmodern context. Numerous contemporary artists allude to traditional Chinese pictorial and calligraphic concepts in their visual vocabulary, but there are far fewer artists whose work suggests a conscientious effort to engage with and transform this ancient Chinese art form as a defining feature of their artistic vision.
Magazine Article
Beyond ink: China's young neotraditionalist artists
The concept of Chinese ink art is not solely defined by the materials and tools used; it also refers to an entire aesthetic and cultural system. In the previous issue of 'ArtAsiaPacific' (Issue 85, Sep/Oct), I discussed how young ink painters from mainland China - particularly those born after 1970 - are finding their own voices in the traditional tools of ink and brush. Yet there are also young artists who are meaningfully referencing the age-old \"ink aesthetic\" through the use of new artistic media and techniques, exploring the possibility of the transformation, extension and reconstruction of a time-honored genre within a postmodern context. Numerous contemporary artists allude to traditional Chinese pictorial and calligraphic concepts in their visual vocabulary, but there are far fewer artists whose work suggests a conscientious effort to engage with and transform this ancient Chinese art form as a defining feature of their artistic vision.
Magazine Article
After ink: China's young ink painters - in concept and practice
Ink painting is perhaps the only native Chinese art form with universal appeal that is not dominated by Western art discourse. Throughout the 2,000 years of its history, ink painting - or more broadly, ink art - has continually evolved and adapted on its own terms, with new modes of expression using the quintessential Chinese mediums of ink, brush and paper, and sometimes silk ground. Although this past half-century of rapid transformation, from the repressive Cultural Revolution (1966-76) to the opening up to foreign investment of China's Open Door Policy (1992), has forced ink painting to come face-to-face with \"Westernization,\" somehow this tradition has not lost its intrinsic identity. With new ink movements of the 1950s and '60s centered in Hong Kong and southern China, and the '85 New Wave Movement in Beijing, artists including Wu Guanzhong (1919-2010), Lu Shoukun (1919-75), Liu Guosong (b. 1932), Li Shinan (b. 1940) and Gu Wenda (b. 1955), along with many others, invented new artistic vocabularies, hybridizing Western aesthetics with the ink-art tradition as they experimented with new possibilities related to this orthodox visual idiom. In short, these pioneers extended ink art beyond traditionalism by examining the very core of the ink medium itself, thereby expanding the playing field, allowing later aspirants to experiment with new possibilities. It is these benefactors of change, the generation of ink artists born during the 1970s and '80s, who are the subject of this article. Now that the confining boundaries of the ink medium have all but disappeared, how and why are young artists adopting, and adapting, this archaic tradition?
Magazine Article
After ink: China's young ink painters - in concept and practice
Ink painting is perhaps the only native Chinese art form with universal appeal that is not dominated by Western art discourse. Throughout the 2,000 years of its history, ink painting - or more broadly, ink art - has continually evolved and adapted on its own terms, with new modes of expression using the quintessential Chinese mediums of ink, brush and paper, and sometimes silk ground. Although this past half-century of rapid transformation, from the repressive Cultural Revolution (1966-76) to the opening up to foreign investment of China's Open Door Policy (1992), has forced ink painting to come face-to-face with \"Westernization,\" somehow this tradition has not lost its intrinsic identity. With new ink movements of the 1950s and '60s centered in Hong Kong and southern China, and the '85 New Wave Movement in Beijing, artists including Wu Guanzhong (1919-2010), Lu Shoukun (1919-75), Liu Guosong (b. 1932), Li Shinan (b. 1940) and Gu Wenda (b. 1955), along with many others, invented new artistic vocabularies, hybridizing Western aesthetics with the ink-art tradition as they experimented with new possibilities related to this orthodox visual idiom. In short, these pioneers extended ink art beyond traditionalism by examining the very core of the ink medium itself, thereby expanding the playing field, allowing later aspirants to experiment with new possibilities. It is these benefactors of change, the generation of ink artists born during the 1970s and '80s, who are the subject of this article. Now that the confining boundaries of the ink medium have all but disappeared, how and why are young artists adopting, and adapting, this archaic tradition?
Magazine Article
Zheng Chongbin: Boundless ink
It might seem surprising that Zheng Chongbin was once an instructor in figure painting. Although his multilayered paintings and installations contain the elements that are essential to the Chinese art tradition - the ink, the paper - in Zheng's hands they are completely unfamiliar at the same time. His visceral, abstract style, with its eschewing of brushwork and its emphasis on redefining compositional structure, highlights the materials themselves. His former practice of painting from nude models and copying from master figure painters of imperial China, such as Wu Daozi, Gu Kaizhi or Liang Kai, is today a distant past. It is no wonder that, to many viewers, Zheng appears to have more in common with Abstract Expressionists such as Jackson Pollock, Robert Motherwell and Franz Kline than the early modern figurative painters in China who sought to revolutionize ink painting, shuimo, by renewing representational forms, such as Huang Binhong, Qi Baishi or Xu Beihong. Yet beneath the messy surfaces, Zheng's artworks remain rooted in the long tradition of ink painting, although his personal evolution has taken him to places far beyond representation.
Magazine Article
Zheng Chongbin: Boundless ink
It might seem surprising that Zheng Chongbin was once an instructor in figure painting. Although his multilayered paintings and installations contain the elements that are essential to the Chinese art tradition - the ink, the paper - in Zheng's hands they are completely unfamiliar at the same time. His visceral, abstract style, with its eschewing of brushwork and its emphasis on redefining compositional structure, highlights the materials themselves. His former practice of painting from nude models and copying from master figure painters of imperial China, such as Wu Daozi, Gu Kaizhi or Liang Kai, is today a distant past. It is no wonder that, to many viewers, Zheng appears to have more in common with Abstract Expressionists such as Jackson Pollock, Robert Motherwell and Franz Kline than the early modern figurative painters in China who sought to revolutionize ink painting, shuimo, by renewing representational forms, such as Huang Binhong, Qi Baishi or Xu Beihong. Yet beneath the messy surfaces, Zheng's artworks remain rooted in the long tradition of ink painting, although his personal evolution has taken him to places far beyond representation.
Magazine Article