Zhao Chunxiang (Chao Chung Hsiang; 1910-1991) / Calling You / diptych, ink and acrylic on paper / 183 x 177 cm / Private collection

Chao Chung Hsiang, as he is usually known, graduated from the Hangzhou National Academy of Art in 1939, and the following year was appointed by the Ministry of Education to work in the Northwest Artifacts Survey Group. He moved to Taiwan in 1948 and then traveled in Europe before settling in the United States in 1958. This abstract expressionist painting, which combines Chinese ink and acrylic color, is typical of his work of the period. He returned from New York to Sichuan in 1990, and died in Taiwan the following year. This work exemplifies a recurring trend among Chinese painters who were familiar with Western modernism to find points of intersection between ink painting and Abstract Expressionism.{Read More…}

Chen Shen Ping / Green River Flowing Through the Mountains / 15″ x 19″  [21" x 25" with silk brocade mat] 39 cm x 48 cm  [55 cm x 64 cm with silk brocade mat] / chinesepaintings.com

I’m intrigued by his use of colour and how the drawing sets up the structure that holds the loose colour in the composition. I definitely see the influence of Zhang Daqian At this point, I think the tightness of the drawn elements competes for attention with the loose colour elements. It sets up a strong contrast, which may be the point, a sort of restrained exuberance. Personally I’d like to see it pushed further, with the tight elements much more deconstructed as well as on a much larger scale. I think the danger is that it can become formulaic very quickly, I want to know what happens next.

Zhang Daqian / Peach Blossom Spring / 1983 / hanging scroll, ink and color on paper / 209.1 x 92.4 cm / Cemac Ltd.

Chang Dai-chien continued to develop his remarkable range of techniques after he left China in 1949. One particularly important breakthrough was his development, in the 1960s, of a bold technique of splashing ink and color on his paper. Although the results might seem to resemble action painting, Chang maintained throughout his life that his technique was Chinese, having been described in Tang dynasty texts on painting. He did not, thus, use the splashed ink technique in a purely abstract manner, but only to suggest real or imaginary landscapes. In this superb painting of his final years, his blue-and-green pigment is used to suggest a mythical paradise, the Peach Blossom Spring, where human discord was unknown. Although he never returned to mainland China, his work was admired and emulated by younger artists who came to know it after the Cultural Revolution. {Read More…}

Gao Xing Jiang / Penumbra / 2007 / Chinese ink on paper / 105.5 x 79 cm / 41.1 x 30.8 ins / alisan fine arts

Yang Chihung / Dreaming Blue / 2007 / acrylic on canvas / 198.1 x 254 cm / 78 x 100 in. / ChinaSquare Gallery

I have been on a Chinese painting kick recently and will be posting more over the next little while I am sure, but…I got to this exhibit at ChinaSquare Gallery last month. Yang Chihung’s paintings are dynamic and exciting, I spent a long time in front of each piece just looking and it still wasn’t enough. Each painting is rich in complexity and reveals itself over time. I admire the energy and movement in the gestures and the spacial dynamics established in the compositions. Unfortunately the paintings were executed in acrylic and finished with an overall gloss varnish. The result was that the paintings had a very uniform plastic surface that was not very inviting. It’s almost as if they were hanging on the walls wrapped in plastic for display, I could look but I couldn’t touch. They lacked that sensuous quality of an oil painting or the complexity of ink or watercolor on a rag paper or silk. However, the color stains and the quality of his gestures are unique to water media, specifically acrylic on raw canvas. They work with the strengths of the medium and display superb understanding and masterful handling of the brush. It is the structure of the brushwork, the building up of the composition with multitude of various strokes and touches, that gives the paints such a wonderful life and energy.

Chihung Yang’s deeply complex abstractions and sweeping brushwork transports the viewer into universe ruled by the Chinese tradition of the ephemeral “floating clouds and flowing waters.” In tanding before Yang’s work, it seems as if the universe has come to a standstill, that his clouds and rivulets of paint have been frozen in time. Yet, his balanced compositions hint at the grandeur of nature, or perhaps chaos unleashed and then reigned in. Mixing subtle monochromatic hues with right bursts of paint, the fleeting appearance of color results in a feeling of life breaking through oil, or rays peeking through clouds. Organic structures emerge from the otherwise abstract nature of Yang’s painting in the form of buds, roots and veins. As abstract painting, Yang’s oeuvre stands its own in comparison with the great names of the tradition, whether Western or Chinese.

zhang daqian (chang dai-chien) / brown landscape

Unquestionably one of the most important Chinese painters of the Twentieth Century, Chang Daichien has been compared to Picasso in many exhibition essays and catalogs. That analogy is often accompanied by evidence of their ‘summit’ in 1956 at Picasso’s Mediterranean villa, La California, but is meant to more generally suggest the breadth of the artist’s fame, unparalleled productivity and stylistic variety, and charismatic personality.1 Unique in the mastery of historical styles dating back to the 9th Century, reintroduction of brilliant color with painterly modeling, and grand synthesis of these traditions with aspects of Euro-American Impressionism and Abstract Expressionism, Chang Dai-chien is a singular giant of Chinese painting.
Yet even though the artist lived half of his career in the West and a decade in California, his work remains virtually unknown in the American artworld except in the Chinese American community and among scholars. This obscurity is especially surprising in light of the high visibility afforded Asian American artists including Isamu Noguchi, Chang Dai-chien’s contemporary (1904-1988), and contemporary artist Hung Liu. Because ink painting is segregated academically and rarely presented in American museums, there is a widespread lack of familiarity about its traditions, aesthetics and practitioners. Perhaps as few non-Chinese can read inscriptions, rapid or casual appreciation is limited for many. James Cahill has written that Chinese paintings can appear “small and flat and hard to penetrate” to Westerners, in contrast with the seeming “forcefulness and immediacy” of European paintings; conversely, Cahill adds that Chinese painting experts sometimes complain about European painting lacking variety in brushwork.2 Chang Dai-chien felt quite differently, protesting “some people complain that Chinese landscapes are plain while the trees are flat. But this is absolutely false.3 Even though his work is resolutely rooted in Chinese painting traditions, Chang Dai-chien felt “there is no rigid line of demarcation between Chinese painting and Western painting,” except perhaps “in the media and materials of the painter” and “in regional divergence in custom. [Read more...]