XIA QINGYONG: FRESH PAINT
by Wang ChunchenIn the 5th issue of Art Observation this year, there was a discussion on the conceptual comparison between Chinese traditional painting and ink wash painting. The main goal of the discussion was to clarify the similarities and differences between the two concepts, so that people can have a better understanding of the two.
In fact, this has been an ongoing debate and exploration of the two art forms since the last century, and it has continued through today. Xia Qingyong, as a young artist, has been actively exploring his own artistic interpretation and presentation of the medium.
If we say that "Chinese traditional painting" and "ink wash painting" have two different specific meanings, then the combination of the two may imply a whole new possibility. It comes not only from the precipitation of Chinese traditional culture, but also from the inspiration of artistic creation, namely the artist’s correspondence to the times he lives in. What is important here is to have this concept expressed at a deeper level, which requires the practice and efforts of a new generation of artists. Xia Qingyong is precisely at such an inflection point. With the careful observations that he has been making throughout the years, he has shown great persistence and patience with his experimentation of ink wash painting.
Xia Qingyong’s artistic career benefits from his knowledge and conceptual understanding of art history, which had allowed him to quickly develop his own methods early on. Xia Qingyong crumpled xuan paper to allow it to take different shapes, then dipped it lightly in or brushed with ink before unfolding it, creating unexpected ink marks along the creases. These naturally formed patterns remind us of brushworks in Chinese painting, but with a certain kind of hardness that is not dull to look at. In his "Clean Heart" and "Folding" series, he not only experimented with ink but also different color pigments as well. The creases and traces of colors as a result of the folding and crumpling certainly cannot be created with brushworks alone, as one can easily appreciate the subtle changes of ink when observing carefully.
In addition, by wetting the stripped xuan paper and kneading it into uneven lines to form various shapes based on the toughness of the paper, this is a characteristic that a canvas does not possess. On the contrary, Italian artist Lucio Fontana could only slash the center of his canvases to create dramatic cuts, whereas Xia Qingyong was able to fully utilize the flexibility of his paper to create crease marks, a re-creation of the material that did not exist in art history. This is precisely the beauty of exploration and experimentation in contemporary art. As a contemporary artist, one is encouraged to explore untried methods instead of following the historical traditions of the medium, revealing the aesthetic significance of the material itself. Xia Qingyong did not only create aesthetically mesmerizing creases on xuan paper, but also infused various colors into the material. The interaction between the two has led to a strong contrasting effect. The creases refuse to be set on colors, while the color pigments require a flat surface to be accurately presented. This apparent violation of traditional color rules deconstructs and reconstructs our apprehension of the medium, which gives us a completely different view after being flattened. Here, we can surmise that Xia Qingyong first looked at Chinese ink wash painting with an innate love, but rather than leaning towards the conservative side, he boldly re-orientated our perception by borrowing ideas from contemporary art theory and the ideology of materialism.
Another important question is how the new generation of young artists shall demonstrate themselves in ways different from before. As Australian art critic and writer Nicholas Tsoutas said, artists shall look forward to the future rather than the past from today's perspective, and young artists in particular shall be adventurous and daring to provide new ideas. What we are facing today are the crises of anxiety about the future and the sustainability of our ecological space. Art has to be constantly renewed with fresh blood, and this source of power must come from the younger generation. Why shouldn’t ink wash painting be re-examined? In other words, the history of ink wash painting does not necessarily require continuous re-writing, as new history could be instantly generated with extensions of its materiality and breakthroughs of its solidified territory.
It’s certainly a very exciting thing to look forward to the future.
Wang Chunchen, September 10, 2019
Central Academy of Fine Arts, Beijing
Sep, 2019
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