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Global Times, July 14 2010, p.16, "Life & Art"
INK PAINTING TODAY
By Wu Ziru
Many ink painters find it hard to depict contemporary life with their traditional tools of rice paper, black soot-based ink and bamboo-handled brushes. To overcome the obstacle, artists young and old are devoting themselves to innovating the ancient art form, both in subject matter and technique.
There is a gradually growing interest in contemporary ink painting both within China and abroad, with the introduction of modern styles as a unique way to celebrate the old art form while acknowl-edging an ever-changing society and artistic style, according to independent art critic Liu Siyan.
"Ink paintings need to advance with the times," Liu told the Global Times, adding that the developments are important in preserving China's artistic heritage. "Only this way can Chinese traditional art sustain its vitality and at last come to the eyes of the public," Liu said.
Far from the landscapes, flowers and birds that dominate traditional ink painting, it is now common to see modern figures with faces or scenes from China's recent history in contemporary works, such artistic innovation allowing artists more freedom to reflect the times they are living in.
Depicting modern subjects is giving ink painting renewed popularity, artist Zhu Wei told the Global Times. Heavily collected for his contemporary ink pieces both at home and abroad, Zhu said that he has long been interested in new interpretations of the ancient art form. "Artists should reflect the society they are living through, no matter whether it is beautiful or not," he said.
Born in 1966 in Beijing, Zhu is among the first Chinese artists whose works were largely bought by Western collectors in the early 1990s.
Using both materials and techniques of traditional ink painting, which are generally considered only proper for depicting landscapes, figures and flowers as was done in ancient times, Zhu began his innovation by deliberately portraying scenes from his childhood, which coincided with the Cultural Revolution (1966-76).
With a deep understanding of ancient ink paintings and their creators from differ-ent dynasties, Zhu adeptly integrates tradition and the contemporary in his subjects, often juxtaposing ancient and modern elements, with the aim to offer reflections on Chinese life and society.
His well-known series Utopia features people with huge heads on sturdy bodies, participating in official meetings. In a sequence of as many as 50 paintings, these officials listen with respect and boredom, sometimes dutifully taking notes with stubby fountain pens. Here a basket of flowers in each painting is adapted from Song Dynasty (960-1279) master Li Song's album of figures, which deliberately fits well with other contemporary elements in the painting.
In Zhu's eyes, ink painting has been the most fashionable art genre for thousands of years and ink painters from every dynasty have tried to develop the art form with the times. "What makes the difference is just what is favored now is no longer only landscapes, birds and flowers and the female figures that used to be very popular before," Zhu explained.
"I do not agree with many art critics' opinions that traditional ink painting cannot keep pace with today's fast developing society," he added. "I guess that some artists are just overwhelmed by traditional masterpieces, fearing that there is no way to surpass them.
"Others are just seeking instant economic benefit so they can't calm down and look back to our tradition."
Zhu said that in order to create an excellent contemporary ink painting, artists must first have a profound understanding of traditional ink painting and then carefully observe complicated modern-day life.
Most contemporary ink painters start out in the traditional school, agreed Wu Yi, a professor at the Central Academy of Fine Arts, who has also made significant achievements in ink painting. He told the Global Times that few artists ever expect to go beyond the scope of traditional ink painting when they begin to learn.
Wu said that he believes that with more efforts being made by painters and educators to move the genre forward with the times, things will get better and better. "I myself am confident in ink painting, since it perfectly integrates tradition and contem-porary, which is amazing."
《环球时报》2010年7月14日刊“生活与艺术”栏目
今日水墨
记者：吴子茹
很多水墨画家发现，想要将当下的生活融入到以宣纸、煤灰为原料的墨汁、竹子制作的毛笔这样的传统工具中，简直是困难重重。为解决这一矛盾，新老艺术家们都致力于革新这种古老的艺术新式，包括题材与技法。
海内外对当代水墨的兴趣仍在持续增长，独立艺术批评家刘思言认为，在反映瞬息万变的社会时，现代风格是水墨的唯一出路。
“水墨需要紧随时代，”刘思言告诉《环球时报》记者，发展是秉承中国艺术传统的重要手段，“惟有这样，中国传统艺术才能具有活力，并最终进入公众的视野。”
与山水、花鸟一类过去的主流题材不同，时至今日，取材自中国历史现实的现代人物形象频频现于当代水墨。此类艺术创新使艺术家能更自由地反映他们所生活的时代。
艺术家朱伟的当代水墨作品在海内外受到广泛关注和收藏，他告诉《环球时报》记者，现代主题使水墨重受喜爱。长期以来，如何崭新诠释这种古老的艺术形式一直吸引着朱伟，“艺术家应当描绘他们身处的社会，无论它是美是丑。”
朱伟1966年出生于北京，属九十年代初被西方藏家大量收藏作品的第一批中国艺术家。
传统水墨的材料和技法过去被认为只适合表现山水花鸟，朱伟却有意用同一种材料和技法来描绘从他童年时代——亦即文化大革命（1966-1976）时期——起目睹的景象。
他对历代水墨大师及其作品了然于胸，擅长融合传统与当代，常将古老和当代元素并置以反映中国生活及社会。
在朱伟为人所熟知的《乌托邦》系列作品中，他刻画了许多顶着大脑袋的小人儿开会的情景。这一系列约有50张绘画，官员们百无聊赖却又故作严肃地聆听着发言，时不时恭敬地用粗短的自来水笔写下几句笔记。每幅画中都出现的花篮改编自宋代（960-1279）绘画大师李嵩的一辑册页，却恰好与画中的当代元素相协调。
在朱伟眼中，数千年来水墨画都是最流行的艺术类型，每个朝代的水墨画家都曾致力于使艺术形式跟上时代。“只是山水、花鸟、仕女这一类过去流行的题材现在不再受欢迎了而已。”朱伟说。
“我不赞同现在很多批评家的意见，说传统水墨画跟不上当下社会的快节奏生活，”他说，“我猜有些艺术家只是被过去大师们的杰作震住了，害怕没法超越他们。”
“还有些人，只是汲汲营营地想牟利，静不下心来回顾传统。”
朱伟说，想要创作杰出的当代水墨作品，艺术家必须对传统水墨有深刻的了解，同时也必须敏锐观察纷乱繁杂的现代生活。
中央美术学院教授、同时也是在水墨上卓有成就的艺术家武艺也同意这一点。他告诉《环球时报》，大部分当代水墨画家都从传统学起，可也有一些艺术家，在刚学到皮毛时就希望超越传统。
武艺说，他相信只要艺术家和教育工作者努力，水墨就能与时俱进，前途是光明的。“我对水墨很有信心，它能完美地结合传统与当代，多棒。” |
