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小 发表于 2008-5-8 23:09 只看该作者
 Play Ink & Ink Play
' Q( h# j( E! ^& f; G- t, N% v+ lZhang Peicheng Director of the Liu Haisu Art Museum- @( _: Z/ V5 O3 V F! q4 l+ ?3 u, S
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When ink play is mentioned, we would usually think of the literate ink play of the Ming and Qing dynasties, a reference to the practice of playing with ink brushwork. The title of this exhibition borrows the wore play from this phrase to encourage the allusion to Chinese opera, i.e. a unique Chinese ink painting about Chinese opera. Over the past century, a great many painters have continually found inspiration in the theme of the Chinese opera figure, using their brushwork spectacularly to produce vanous artistic patterns.4 ^2 y% B- |# l, c3 D1 i! H% ?# w
( Q( L% o9 r3 T; \5 `To begin with the link between Chinese opera and painting probably, first appeared in the folk arts, a cultural category whose existence is intimately connected with our national memories. In many folk arts like the paper-cut, the Spring Festival opera picture, the folk toy and the art of porcelain patterning, we may discern the traces of the opera theme, which has always been seemingly absent in the ink painting of the off cial class. Was it due to the official class' disdain towards the opera performers Or did they feel that ink was not suitable in this aspect I have no idea. However, Guan Liang started to transform opera figure painting into a new genre of Chinese ink painting's themes and achieved a realm of sublime art.% X* L: b, |6 G9 [6 I. \7 @
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At the beginning of last century when modernism from Western Europe was popular in Japan, Guan Liang went to study in Japan and his oil painting was enormously influenced by fauvism, the forceful and steady style incorporating various dispositions of Chinese and western paintings. As a ardent Chinese opera fan, Guan could play jinghu, a two-stringed musical instrument similar to the jingerhu, immersed himself in the teachings of his friend, an opera school graduate, bought Costume whiskers, horsewhips and boots. He became familiar with the songs, the walking, the percussion instruments and all the opera's movements including mounting a horse or carriage, thus preparing himself with his life's foundation. Because his ether foundation came from western painting, he didn't have, the restrictions on classical themes, like the flower and bird, the landscape, the noble woman, Taoism and Buddhism, etc expression as his only desire. Just on account of his role transforming from the western to the eastern, expressing his own familiar life became a very spontaneous matter. We should never underestimate the issue of theme. If we were to look at all the painters of traditional style, how many of them made a break-through? Drawing only some rats, rakes and abaci, Qi Baishi already astounded painting circles, however, in the western painting circle; people had never seen an innovation in theme so conspicuous. Therefore, Guan's entrance was never accidental, and his success was surely inevitable. The Highly choreographed Chinese opera, with its heavy emphasis on imaginary staging, facial patterns and costumes-full of weird decorative aesthetic interest, provides the natural conditions for the fusion of Guan's painting language of fauvism. Just as Beijing opera, a Chinese opera originating from life with dancing, Guan and his successors felt like fish in water. After making his debut, Guan's works appeared to be enormously different from traditional literate painting. It's clumsy, unrestrained yet concise and pithy brushwork seemed to be inherited from Chinese ink art, however his peculiar and prominent figures and resolute brushstrokes seemed to be somewhat related to western fauvism. No wonder Qi Baishi wanted to meet him after seeing his works and joyfully volunteered to write "Guan Liang's Ink Pleasure" on the front page of Guan's painting album. They had the same pursuit and a mutual comprehension. Having already exceeded the playing of brushstroke, they entered the creation of brushstroke. Just the ink play, absolutely not play ink, enabled ink painting of Chinese opera to become a happy land for many successors to diligently work in, and a free realm for them to exert themselves. In this significance, it's not an overestmation to regard Guan as the founder of Chinese opera figure painting.
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# l T9 N, {% G* ~/ i" X- T3 PWhen viewed from another perspective, the highly choreographed Chinese opera really presents'an extremely sublime formality. Derived from folk art, various visual elements' simplicity, splendor and uniqueness provide extensive space and infinite possibilities for ink painters' re-creation.? Loose or tight costumes brew the genes of natural transformation for modeling, enabling a painter to freely play with the lines under his wrist, to follow his feelings as though he were strolling. In the paintings created by Han Yu, Zhang Guiming and Zhu Zhengeng, we can feel the leisure and elegance of their strolling, while also detecting a level of humor. Zhou Jingxin turns the characters in Water Margin to Chinese opera figures, and his humorous outlaws are partially related with the characters on stage, which is not strange at all. Nobody has ever seen these brave outlaws living almost one thousand years ago, and the most direct vision is probably from the stage of Chinese opera. His modeling without outline marked with his own prominent individuality is forceful, stylistic, rhythmical and unique. Starting from a facia, pattern, Nie Ganyin presents the reflection of his soul through deconstruction more than just facial painting. Perhaps on account of his experience with cartooning, Han Yu's works are full of humorous philosophies, interesting and meaningful. More than just playing with ink, he is virtually deciphering life and analyzing society. Using his extraordinary sense of modeling, Zhu Zhengeng adores the modern style without exotic elements, starting from the domestic and folk arts, and integrating the Chinese, the foreign, the ancient and the present. He has the most abundant patterns, and his works are filled with great intelligence, freely wandering among the realistic and the impressionistic, the two-dimensional and the three-dimensional regardless of time and space, and could really be called a superior player. Enchanted by folk art, Ding Liren maneuvers the symbolic costumes, stage properties and backgrounds in Chinese opera to their fullest extent, creating unique patterns. His figures are living on the stage or in nature, and the clumsy and naive modeling is quite significant.# r, B$ G, a- y0 X% v! S% Z$ B
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Here, the literate ink-play presents some helplessness, yet also fully displays its playful attitude. Actually, these painters are all experts in brushwork; otherwise they couldn't play at all, just like Michael Jordan's ball-playing which couldn't be easily achieved by just anybody. Chinese opera art constructs an extensive platform with its unique eastem charm, and their skills are like the rules of a game accepted through common practice, hence these Jordan's could completely exert themselves, and the game becomes interesting, attracting the audience to participate, including me.! I" _" e5 ~ K" v, b( \
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The current painting circle is increasingly more active, but also more and more flippant as many pursue the fashionable for fear of not being contemporary. Now, China is experiencing an impatient anxiety about modernity, an anxiety to be admitted by others, especially the westerners. I assume, even the westerners don't expect to see themselves reflected in the mirror, a distorting mirror. Chinese culture is an extremely rich treasure, as Chinese folk art could be traced back to the Neolithic age, and what's more precious is that it has continued through to the present without interruption, maintaining a vigorous vitality with Chinese opera as one of its branches. Ink painting of Chinese opera always stretches its antennae to the folk, facing the contemporary. It is a seed germinating in its own land and when it grows into a very tall tree it still has a Chinese face, certainly a new Chinese face, yet one that deny any wholesome foreign nourishment. This exhibition is to cultivate and fertilize it, enabling it to meet and exchange with the people of the world, which is probably the social responsibility of a member of our Chinese art museums because the real art should belong to all humankind.! \3 C$ H! K- C" `
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2 z4 J, h8 B* |4 q- A5 WMartial Character in General's Costume with Small Flags Sticking from the Back Shadow puppet height of 38cm, width of 15cm Xingping county of Shaanxi province
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" a2 Z) p# @* J( C/ O2 rYaodan, Negative Old Lady Shadow puppet height of 37cm, width of 15cm Fuping
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Traditional Opera Opera Paper Objects for Funeral in Coo County of Shandong Province
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Qin Qiong Teaches the Martial Art Model paintings of opera paper objects for funeral
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Ancient Shehuo Facial Pattern from Hegou Stockaded Village in Long County of Shaanxi Province
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Papercuts from the Yellow River Area Height of 11cm, width of 7cm0 s1 }1 u; I6 W
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3 z ^, w+ l$ P$ [( h4 jPapercuts of Opera Figures from Chaoyi2 \1 P; u. w- L1 S
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: v' g9 J { t. q: i5 vCharacter from Water Margin (Lin Chong) Folk papercut of Hebei province's Wei county Height of 38cm, width of 15cm1 W9 c1 q4 O2 B
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0 [( }4 U$ e1 O& J5 H& p) PXiaoban Opera Colored clay sculpture in Wuxi Height of 7cm
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Sword, Horse & Man Clay figurine height of 11cm Yutian county of Hebei province. q3 H. W. L, F1 N$ k
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5 w9 I, a1 ^6 zMonkey King Sugar figurine height of 16cm
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Journey to the West Dough figurine height of 13cm
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