SHANGHAI— Pearl Lam Galleries is pleased to present "Beyond
Black and White", an exhibition showcasing 18 works by eight Chinese
contemporary ink artists including Feng Mengbo, Lan
Zhenghui, Qiu Deshu, Qiu Zhenzhong, Wang Dongling, Wang Tiande, Wei Ligang and
Zheng Chongbin. These artists are part of a growing circle in China that draws
inspiration from traditional Chinese ink painting and its philosophy as well as Chinese
calligraphy. The exhibition opened to the public on 21 July 2013.
The medium
and technique of ink and brush plays a significant role for these artists as they seek to
display the unique heritage of Chinese artistic culture in a new, contemporary
context that reflects today’s globalised world. The philosophy of ink painting also plays a central role among
contemporary ink artists whose energy is laid bare in their artistic creations.
This energy expresses another realm of beauty that goes beyond the visual
quality of the painting. This is known as Qi, or vitality, and is one of the Six Principles of Chinese Painting, established
by Xie He in the 5th century. This exhibition aims to address the role of ink
and its enduring philosophy in contemporary China and challenge the traditional use of the medium.
The artists
in "Beyond Black and White" are all
deeply indebted to Chinese culture and art history, using these traditions to guide their work whilst embracing a
wide range of sources including Chinese calligraphy, landscape painting and poetry. Whether it
manifests itself through the medium, the philosophy or the form, they all draw
inspiration from the classical canon.
The
exhibition demonstrates that through an exploration of China’s past, contemporary Chinese artists are able to
make sense of the present: creating works which are relevant in today’s society
as well as being rooted in Chinese culture’s deep appreciation for artistic scholarship. It is this combination that has led
to the popularity and re-evaluation of contemporary Chinese ink painting.
Tiger Wind is a monumental cursive calligraphy work by Wang Dongling. The
artist’s rapid creative process is filled with uncertainty. The large scale of
the piece emphasizes the relationship between the artist’s bodily movements and
the finished work of art, while driving the viewer’s own immersive experience
of the piece. Wang’s monumental work breaks through the traditional rules of
penmanship, form and composition, revealing the artist’s unique and distinctive
style and personality.
In Wang Tiande’s installation, Chinese Clothes, he presents a traditional Chinese silk dress (qipao) that he has burned through to reveal glimpses of another layer of silk below covered in calligraphy. The tension between the painted and burned words and the costume is united by the traditional aesthetics of calligraphy, thus creating a deeper meaning beyond the object. Yengisar Knife is from Qiu Zhenzhong’s ‘New Poetry Series’. Qiu uses his unique style and subtle control of space, time and line to combine elements of traditional Chinese ink painting for his modern art. His concern is the aesthetics of the space of calligraphy as well as the brushstrokes. Qiu’s paintings aim to liberate traditional Chinese calligraphy and ink painting from its typical ideology, so as to transform its aesthetic function into something more authentic and absolute.
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