In the context of cultural diversity, the question of how to interpret contemporary Chinese traditional ink and water art has been a heated issue since the 20th century. The “Changing View” nomination exhibition of contemporary ink and water art is based on this academic perspective and is intended to open the possibilities of a new form of expression for traditional ink and water art.
The spirit of traditional ink and water art originates from the worshipping of nature in farming culture. Through depicting mountains, rivers, flowers, birds, fish and other wildlife, Chinese ink and water art represents a unique view of nature—the unity of mankind and nature. It is under this influence that Chinese painting, which is based on water, ink and rice paper, has developed aesthetically appealing differences from Western art. This approach to tranquility and Zen has a positive meaning for historical farming civilizations. However, this type of artistic language no longer matches the context of industrial civilization of the 20th century. This disconnect also triggered a century-long revolutionary change of ink and water painting. This change has brought a lot of uncertainties as well as new possibilities. Especially in modern times, as information becomes ubiquitous and easily accessible, the superfluous material life and the spiritual mind are being ignored and are falling behind the speed of digital life, demonstrating a sharp contrast.
Compared with the artistic exploration of artists in the last century, the artists in the 21th century, through constructing visual structure, touch more upon personal experience and spiritual reflection. This difference gives the ink-water artists a contemporary ethos with further openness. As Li Xianting[1] says, “contemporary art is a universal language built on the foundation of modern art. Only contemporary art can reconcile the conflicts between the new and the traditional, the end and the means, and connect China with the world.” It is this “universal” feature that forms the bridge between Chinese ink-water artwork and Western or international artwork. It is also because of this feature that ink-water paintings can transcend the traditional nationalistic boundaries of the genre and connect with the international sphere. Seen from this perspective, we would not be surprised at the outlook of a more eclectic ink-water painting, either the diversity of its medium and carrier or the experimentalism of the material and techniques.
Dandeli Art Center appreciates these values and is dedicated to promoting and supporting ink and water art and artists. We are also committed to promoting the transformation of the local artistic language through case studies of young artists. We believe that in the future, ink and water painting, as a representative of Chinese contemporary art, would be an un-reckoned power to lead new art development. We would therefore hope to showcase different developing paths of Chinese art through this broad perspective and to further promote art academics through annual exhibition.
- James Han, Dandeli Art Center, February 2012
[1] Li Xianting is an independent art critic and curator of contemporary Chinese art, and sometimes referred to as the “Godfather of Chinese contemporary avant-garde art”. In the late 1970s and 1980s, Li was involved in advocating and introducing the avant-garde art form in China. He organized the “Stars exhibition” in 1979, and coined the terms “Cynical Realism” and “Political Pop”. He also lectured and curated international exhibitions, including the China Pavilion at the 45th Venice Biennale (1995). He is now the director of Songzhuang Art Museum and Li Xianting's Film Fund.
