Theartofpaintinghasalwaysbeenacreationofhumanwisdomandsocialdevelopment.
Inmid18thcenturyWattofGreatBritaininventedthesteamengineandthenin19thcenturyEdisonoftheUnitedStatesinventedelectricallight,telephoneandtelegraph,leadingtheWestintotheindustrialrevolutionfromanagriculturalcivilization.AsindustrialproductivityoftheWestrapidlydevelopedtheplasticartsofEurope,namely,sculptureandoilpaintingresurrectedfromtheshacklesofmedievalreligion.GoingfromgrandeuroftheancientGreekartsofsculpturetotheRenaissanceinItaly,plasticartsinEuropehaddevelopedtoaneraofprosperity.AgroupofoutstandingmastersofArtscroppedupontheEuropeanContinent.IndustrialrevolutionoftheWestwasagreatimpetustothedevelopmentofartsandprosperityofartmarket.
Metropolitancitiesareaproductofindustrialcivilization.Industrialrevolutiongavebirthtothebourgeoisieandatthesametimeexpandedtheranksoftheworkingclass.Citieshadbecomecenterswherethebourgeoisiereignedsupremeandtheflourishingoffinance,commerceandtradeaddeduptheirprosperity.Thankstotheinventionofelectricalpowerandsteamengineconstructionofcitiesexperiencedanunprecedentedgloriousboom.Withthevaluecreatedbycountlessworkersthebourgeoisiebuiltupallkindsofcommercialbuildings,banksandplacesofentertainment.Theirwayofliving,inasense,weremuchmoreenlightenedthanthatoflandlordsandserfowners.Thebourgeoisiesmashedallregionalshacklesimposedbythefeudallordsandadvocatedsexualfreedomanddemocracyunderbourgeoisrule.Industrialrevolutionrenderedthecitiesamyriadofcolorsspottedwithcountlessbarsandbrothels.Largenumbersofpeasantscametocities,somebecamefactoryworkersandothersbecamesmallvendors.Prosperouscitiesalsoattractedartistsinthecountryside.ThethenParisthusbecamethecenterwhereartistsofEuropethronged,madetheirartisticcreationsandexhibitedtheirachievements.
FrenchpainterCourbet,whowasfromaworkingclassfamilybackground,heldhighthebannersofrealismandpaintersMonet,Reniordiscoveredeffectsoflightoncolors,whichledthemtogreateffortstousesucheffectsonimages,therebygivingrisetoImpressionism.
Rodin,greatFrenchmasterofsculpturebroughttheEuropeanplasticartsofhumanbodytoanewpeakofdevelopment,hismasterpieces“Thinker”,“Kiss”and“HonoredeBalzac”wouldmakeviewersthinkeachsinewandmuscleoftheimagesissoalivewithdeepfeelingandemotion.ItwassaidthatLenin,afterviewingthe“thinker”,commented:“thisisthinker’sheadwithworkingclasshands”.Hewrotetohiscomrades,stronglyurgingthemtoseethesculptureoncetheywereinParis.
WorkingclassmovementsinFrancemadetherealisticartsthemain-streamofEuropeanpainting.Since19thcenturymanygenreshaveloomedupinEuropeanartcircles.TheexaggerateddeformationofCezanne，thesubjectivesymbolismofGauguinandsmoothlyflowinglinesofMatisse,allthewaydowntotheeffortsbyPicassoofdismemberinghumanbodiesjusttocombinethemanew,presentingallaspectsofthehumanbodydirectlytotheviewer.
Thesurrealistartworksareevenmoreshocking.Theartistswiththeirgraversandbrushes,createdimagesthathavenottheslightestdifferencewithrealhumanbeingsandsomecasesevencreatedillusionsconfusingwithrealpeople.Suchultrahighpaintingtechniquesaredoubtlesslyresultedfromthescientificanatomy,clairvoyanceandexcellentdrawingtechniquesoftheWest.
Creationsbyartistsareinseparablefromthenumerousaspectsofcitylife.Theynotonlypaintedlightsandcolorsfromnature,butalsoincludedintheircreationslargechunksofcitylife.Plasticartsprovidedthecitieswithaestheticviewsfrommultipleangles.UptonowParisremainsthecitywheregreatestquantitiesofobjectsofartareexhibited.
Europeanmasters’excellenceofexpressionofhumanbodyinplasticartseitherinsculptureoroilpaintingwasunmatchableatthattime.
Inlate19thcenturyagroupofyoungParisianpaintersorganizedacollectiveartexhibitiontochallengetheofficialsaloon.ThisactontheirpartbroketheconservativeandstalestatusthathadprevailedinEuropeanarts.Thoughtheaverageviewersandcommentatorsofthetimecouldnotunderstandtheirdoings.ThisyoungartistgroupincludedMonet，Renior,Pissarro,Degas,Cezanneamongothers.Theyhadtheirrespectivepersonalitiesandtalentsaswellasdifferentaspirationsandaptitudes.Someofthethenmagazinesraisedacollectiveattackonthem,callingthemsardonically“impressionistartists”,whichname,however,theydidnotmindatall.Theyheldeightexhibitionswithintenyears,forcefullysnaggingtheacademism,classicismandtheofficialsaloonsofthattime.Withtheirtalentsandnewconceptstheymadetheirbigstridesintothevisualarts.Thefauvism,abstractionismandcubismthatfollowedtheirstepsjoinedinthehotcompetitionsinParis,theEuropeanmetropolisofarts.
InChina,whoisfamousforherlonghistoryintheeast,theagriculturalcivilizationprevailedformorethantwothousandyearssinceprehistorictimestothe19thcentury.WiththebackgroundofprolongedmanualworkshopproductionthetraditionalChinesepaintingartslowlyevolvedonanarrowpremises.
UptoTangdynastytheChinesepaintinghadbeenmuralswithBuddhistthemesdonebyworkmen,whichlaterbecameonepaintinggenre.AfterTangdynastypaintingwastakenoverbyscholars.Thisperiodwitnessedthematuringofdepartmentalizationandperfectionofthepaintingart.StartingTangdynastythroughQingdynastyscholars’paintinghadbeenalwaystherepresentativeofpaintingartofpaperandink,whichisthewayofOrientalpainting.InthemedievalSongdynastytheemperorwashimselfverygoodatpaintingandhadgreatfascinationwiththeart.Henotonlylovedpaintinghimselfbutalsosetuparoyalpaintingacademyinthepalace.Sincethenpaintinghadbecomeanofficialaestheticactivityandafashionablehobbybytherichcivilianslikewealthymerchantsandbusinessmen.
Scholar-paintersadmirednatureandsoughtfreedom,tryingtoescapeconventionalityandthatiswhytheyhadgreatfascinationsforfloatingcloudsandwildcranes,pastoralscenes,flowersandinsects,birdsandfishandwildlifeingeneral.Theyexpressedtheirfeelingsinmetaphorsandcomposedpoemsforthesesubjects,whichhelpedtodevelopthescholarpaintingtoahigherstage.
DepictionofimagesbytheChinesescholarpaintersisentirelydifferentfromthatoftheWest.MaindifferenceinpaintingbetweenEastandWestliesinthatfactthattheformeraimsattheexpressionofinnermostspiritwhilethelatterexcelsinsettingimagewithcolors.ThedifferentaspirationsandaesthetichabitsofEastandWestaredeterminedbytheirrespectivesociallivesandenvironmentalfactors.TraditionallyChinesewaterandinkpaintinghavetheirbasictoneswithdiffusedlight,aimedatharmonywhileoilpaintingsoftheWestdevotetovisualimagesbymeansoflightandcolors.InacertainsenseChinesepaintingsaremoreabstractinnature,presentingwithinktheinnerspiritofallobjectsinnatureinsteadofmakingagraphicdepictionofthem.MakingimageswithlinesisatechniqueinwhichtheChinesetraditionalpaintingexcels.ThistechniqueisrecognizedbothinEastandWestasthemostdifficulttomaster,becauselinesareextractedfromtheactualobjectsandvisualspectralimagesinthethreedimensionalspace.PicassooncesaidtoaChinesepainterstudyingWesternpaintinginEurope:“TheEasthasthebestmeansofexpression,thetechniquewithlines.WhyareyouinEuropetolearnpainting?”ObviouslyPicassothegreatmasterofmoderngenreofpaintinghadfirmbeliefofcharmsoflinesinEasternpainting.
Chinaisalargecountryofagriculture,whoenteredindustrialcivilization200yearslaterthattheWest.ItwouldbehonesttosaythatChinaenteredindustrialcivilization—inrealtermsonlyinmid80’sof20thcentury.GuidedbygovernmentpolicyofreformandopeningupandeconomicdevelopmenttheentireChinesesocietylaunchedlargescaleeconomicbuildup,introducinginadvancedtechnologyfromabroadandimplementingmarketeconomyathomeandsettingupdozensofspecialzonesincoastalcitiesinordertoattractforeigninvestment.Drasticchangeshavebeenwitnessedoverthepasttwentyyears.Especiallyworthmentioningistheurbanconstruction.People’slivingbecomescolorfulandquiteanumberofChinesecitiesarealmostonaparwiththoseofadvancedWesternnations.WiththatbackgroundartisticintercoursebetweenChinaandWestaregettingmorefrequenteveryday.“85”campaignofChinesefineartscirclesisanattemptonthepartsofArtcirclesinChinatobreakthepracticalitynatureofArtservingpoliticsonly,whichhadprevailedbefore.AsoriginalartisticworksandinformationofWestcametoChinainbigquantitiestheChinesewaterandinkpaintingshavebeenfindingtheirwayabroadtoo.
Painters’groupsrapidlyspreadouttocitiesbothsidesoftheYangtzeRiverlikemushroomsandasartschoolsandinstitutesaremostlybasedinprovincialcapitalsgroupaftergroupofyoungpaintersplusmaturedpaintersbothmiddleagedandoldcameinclusterstobigcities,liveningthepaintingcirclestoanunprecedentedextent.Overthepasttwentyyearsorsomanyyoungpaintershavethrownawaytheestablishedproceduresandopenedupmanyanewgenrelanguageinpainting,implantingurbanlifeandmetropolitanfeelingsindepictionofthemesandcreationsofartforms.AmongtheoneswithfreshideasofexpressionofmodernconceptsandcitythemesareLuCheng,TianLiming,YaoMinjingandLiuQingheofBeijing,LuYushenofHarbin,LiuJinan,LianZhanyianJiJingningofShijiazhuang,ZhangPeichengofShanghai,ZhouJingxinofNanjing,LiuGuohui,ZhuoHejun,JiangBaolinofHangzhou,ZhuZhenggengandZhengQiangofHubeiandLinTianhangandWangShouqingofHongKong.Theyhaveallcreatedwaterandinkpaintingswithmetropolitansentiments.InShengzhengthefrontierofreformandopening-up,talentedpaintersfromalloverthenationhavecometostayoverthepastdozenyears,continuouslyaddingupnewforcestothespecialzoneartandculture.Inspiredbythetimes,theseyoungspecial-zonepaintersaredepictingurbansceneswithgreatverve.Sinceearly90’stonow,DongXiaoming,directorofShengzhengPaintingInstitute,thefirsttograspmetropolitanthemes,hassponsoredthreenational-levelforumsontheurbanlandscapepaintingsandtwointernationalbiannualexhibitionsofwaterandinkpaintings.ThankstoaseriesofartactivitiessuchastheaboveChineseartofwaterandinkpaintingismarchingtomoderntimes.
WesternscholarsenthusiasticaboutorientalartshavebeencomingtothemajorArtschoolsandinstitutesforstudiesofChinesewaterandinkpainting.OverrecentyearsquiteanumberofpaintersfromGermanyandUKandothercountriesandmakefriendswithChinesepainters,frequentlygettingtogetherforcreativeactivitiesandholdingjointartexhibitionsofdifferentscales,withmassmediabothChineseandforeigntakingpartinplanningandorganizingallsortsofjointartexhibitions.AllthisshowsthattheChinesewaterandinkpaintingisgraduallybecominganinternationalpaintinglanguage.Wearequiteconfidentthatthankstothehigh-speeddevelopmentoftheinformationeraartshavenomoreboundaries,thatdifferentpaintinglanguagescreatedbydifferentnationsoftheworldareboundtobesharedbyallpeoplesalikeandthattheChinesepaper-basedwaterandinkpaintingartwillbesheddingevengreaterbrilliancealongwiththedevelopmentofourtimes.
PaintingaPictureforMaBoshen
(为画家马波生造像评论文――何家林撰)Commentator’sarticle　ByHeJialin
Speakingoffriends,everyonewouldhavelotsofthem.MaBoshengisactuallyanon-conventionaloneamongthoseofmyacquaintance.Inthisarticlethetitleofmisterisremovedbecausetwentyyearsseniorasheistome,wehavenogenerationgapinbetweenus.
WhenIfirstgotacquaintedwithMaBoshengitwasthroughintroductionbymycolleague.Whatimpressedmehowever,wasnothisworksbutratherhisstyle:longhair,clarionvoice,somewhataccented,fromwhichonecoulddetectstraight-forwardness,lenienceandsimplehonestysocharacteristicofnortherners.LaterwhenIorganizedtogetherwithGuManandBanBaiour“Threesomepaintingexhibition”IworkedincooperationwithMaonmattersofpublishingworksintheJournalofChinesePaining.Hestruckmeasasocialactivistmorethanapaintingartist.ThoughhewasstudentofLuCheng’sStudioandpaintedalotofpicturesIdidnotappreciateverymuch.
MawasborninShaanxi,whereIusedtolive.Andmycommunicationwithhimwasnotmuchbutwehadprivitieswitheachother.EachtimehevisitedHangzhouhewouldcometomeetmeandwhenwemetwewouldtalklittleofpaintingbutlifechoresmostlyinsteadandofcourseaboutwomen,whichseemstobeindispensable.Maybeouracquaintancebelongstothecategoryoftruegentlemen’s,beingflatterthanplainwater.
Thenallofasudden(actuallynotexactlyasudden)hecametoHangzhouandpresentedmewithacopyof“Bosheng’swaterandinkpaintings”whichwaslatelypublished.Atthatmeetingwebrokeourroutinebytalkingagreatdealaboutthepaintingprofession,whichhadbeenrarelytoucheduponbefore.AfterIfinishedreadingthepicturebookwhatinterestedmewasnotthemetropolitanthemesthemselves(whichhadbeentopicsmanypeoplerushedtodepictmorethantenyearsbackanyway)butinsteadhisuniquelanguagewithwhichhegaveexpressiontothemetropolitanthemes.Maisatypicalnortherner.OpeningupofShengzhenggavehimtheopportunitytocomedownsouthtofindhisfortune.Foranartistwhofindshimselfinanenvironmentwhereclassicsandmodernitygohandinhand,techniquesandcultivationwouldlooksopale.Itispersonalitythataccounts,whichMadoesnotlack.
MaBoshengusedtocherishfineaspirationsinhiswaterandinkworld.Hehadtriedtodefendhisidealisticcastlewithclassicalinkandbrush.HewouldrunbackandforthbetweenclassicsandmodernyethelackedthatlazyexquisitenesstypicalofscholarssouthofYangtzeRiver.Couldbehisveryname“MaBosheng”destinedhimtorunincessantlyforart(translator’snote:MameanshorseinChineseandBoshencouldbeexplainedas“borntorunforalllife”).Theclassicwaterandinkworldwouldhardlycontainanuntamedwildhorsesuchashewasandhejusthadnowaytohitchhimselftotherootinthisidealisticcastleofdream.He,therefore,camebacktotheworldofmodernwaterandinkfilledwithtensionfromoutoftheclassicwaterandinkofgreatsentimentaldepth;backtotheprosperousandcrowdedcitieswiththeirhighrisesfromoutofthenaturallandscapessofulloftouchingemotionsandsentiments.Isthissojustbecausehehappenstohavethatname?No.Morelikelyitisbecauseofhispersonality.
Metropolitanlandscapeisathemehardtogetridoffortoday’sChinesepainting.Peoplearewonttoliveinoneplacebuthavetheirheartselsewhere,theywouldquiteneglecttheactualspaceinwhichtheylivebutaspiretothefarawayso-calledpastorallife.Dannersaidlongago:“wehavereasonsforadmiringthewildernessjustliketheydofordetestingit.Topeopleof17thcentury,nothingcouldbemoreevil-lookingthanthemountains.Mountainswouldrousetheirmostunpleasantimaginations.Theyweretiredofsavagenessthewaywedocivilization.Realmountainsmakeitpossibleforustoridourselvesofthepavements,officesandshopsandhavearestandthatistheonlyreasonwhywelikethewilderness.”Butthenitcannotbecomethereasonwhywecanfailtobeconcernedwithourcities.Ifwehadsuccessfullygraspedthelanguageofmetropolitanlandscapewater-and-ink,wecouldsaythat.Asitis,ourwater-and-inkremainssohelplesswhenfacingourmetropolitancities.Therefore,itwouldbeanexcusefor“metropolitanlazinesssyndrome”ifweshouldgoonsayingthat.
Mahasnoexcuse.InthedaysatShengzhenghehadalwaysbeenconcernedwithchangesanddevelopmentsaroundhim,byhearingandseeingthings.Andhetriedtodepictthecitywithclassicwaterandinkbutwithoutmuchsuccess.ItwasamerechancewhenhewassketchingHuizhoucivilianresidentialhousethathefoundtheneatandorderlycomparisonsandchangesofgreentiles,whitewallsandblackwindows.Hestartedtodrawwithsimplelinesandblocks,withalmostgeometricimages.Theeffectswerestriking.AfterpaintingnumerousHuizhoucivilianhousesalanguagealmostborderingoncoldabstractionnoiselesslyslippedintohisworld,andwhenhewasdepictingtheurbanresidenceseriesinthisstylethislanguagehadloomedlarge.Thatislife.Sometimesyoucouldspendyourlifeseekingafteryourtargetswithoutsuccessandmoreoftenthannotlightwouldshedonyouwhenyouleastexpectit.Maisaluckypainter.Whenhewasdoinghisseriesofcityframeshehadalreadyunleashedhisnewexplorationofmetropolitanthemeswithmodernwaterandink.Andhisuniquelanguagehasatleastthefollowingpotentialfeaturesandcharacteristics:
1.Imagecharacteristic:itisthemostdirectandalsomostdifficult.Toomuchtruthfulnesswouldkillalltaste;whiletoomuchabstractionrendersitnodifferentfromasuperficialtouchofscenery.ManyacitylandscapepaintingshowShengzhenghasheldhadworksjustlikethat.Ma’sseriesofmetropolitanframeshowever,havestrikingimagecharacteristicsbutfreeofproblemsmentionedabove,givingviewersthefeelingsofdifferenceintheheightsofvariousbuildingsandindependentstructuralaestheticalbeautyandhavingamplefreeroomforexpressionandimagination.
2.Ink-brushcharacteristic:thisisahurdleveryhardtoovercomeforclassicwaterandinkwhentryingtodepictmodernmetropolitanthemes.Manyaclassicpainterdevotedtometropolitanlandscapehadstoppedshorthere.MaBoshenghowever,thankstohisbreakthroughinimagecharacteristic,hassimplifiedhisinkandbrushcharacteristics.Bycombiningstructureandqualityofinkandbrushhemanagedtoshowaverystrongchangeabilityindry-and-wetandinlight-and-dark.That,plushischoiceofsubjectsandbroadspaceshowsthathehasgreaterpotentialyet.
3.Emotionalcharacteristic:(thetermcouldhavebeenspiritualcharacteristic,scrappedforfearofvulgarity)Inmyreportmaderecentlyontopic-selectionIraisedanissueofconcernforthemodernhumanitiesasregardslandscapepaintings.Oneparagraphrunslikethis:“themodernhumanitylandscapewhichIamstudyinghasthemainaimofcatchingthroughartisticimagesthespiritualexpressionofmantowardthespacearoundhim.Itisbasedontheindividualfeelingandtriestoconveytheloneliness,suppression,impacts,pains,contradictions,joys,zest,leisure,thoughtfulness,broadnessofmindandnoblenessamongotheremotionsexperiencedbythemodernartistsintheactualspace.Ithinkformetropolitansubjectsemotionalcharacteristicisthemostimportant.Whendepictingmetropolitanthemesmanypaintershaveinmindonly“depiction”,andthereishardlyanyfeelingforpeople/viewerstoexperience.Whateveremotionthereis,isbutisfalseandpseudo.Ma’smetropolitanlandscapeonthecontrary,depictthroughexperiencing,sothatthroughtheframes,onecouldfeeltheliveliness,feelthefleshandblood.
ThatMa’smetropolitanseriesarevaluableisbecausehehasexploredintoareasthatclassicwaterandinkwouldhavenoaccessto,therebydevelopingtheclassicwaterandink.Intraditionalwaterandinkaestheticcriteriatendtohavecommongrounds,whichareveryrigidwhenitcomestoevaluatingartworks.Asrecognitionandapprovalarehardtogetnewworkswouldmoreoftenthannotfailtomeetrequirementsfromallquarters.Aestheticsofmodernwaterandinkhowever,oftentendtohaveindividualityascomparedwiththatoftraditionalwaterandinkwhileaestheticcriteriaforartworksarequitelenientandloose.ItisthisroomoffreedomthathasmadethebirthofMa’smetropolitanwaterandinkworkspossible.
Ma’smetropolitanwaterandinkhasakindofaestheticfeelingcharacterizedbyvacant-ness,solemnity,sunshineandasomewhatwesternflavor.Trytofeelitwithyourheartandyouwillappreciatethespaceofsuddenstillnessinlifeamidstthemetropolitanfairytaleshehasfabricatedandyouwillalsofindthatcrowdedandnoisyasthemetropolisaroundyouis,therestillisacertainpeacefulness,purityandlightnessinit,whichisactuallyakindoffeeling.MaBoshengisluckyandhappybecausesuccesshascometohimalltooquickly.AndthatiswhyIamworriedthatafterhismetropolitanwaterandinkhasformeditsproceduresitsemotionalcharacteristicmaybereplacedbyanestablishedconcept,inwhichcasemetropolitanwaterandinkwouldtrulybecomeamonotonousframe.ThisiswhatIwillsaytoafriendbywayofadvice.
IlikeMa’smetropolitanwaterandinkandjustasIlikehisstyleIdoitonaplatformofIQandhencethereneedn’tbeanyexplanationnorconventionalformality.Ihopemyfriendwillhitchhishorseandtakeoffhiscowboyhatandsettledownbecausethemetropolisishishomeandmetropolisisrightunderhisfeet.
MyLoveKnotforMetropolis
(我的都市情结Oct18th2002　Haiyuebuilding――马波生)ShengzhengUniversity　ByMaBosheng
Iwouldrecallthateightyearsagoacertainjournalistwroteanarticleonmy“MetropolitanLandscape”,entitled“MetropolitanWalker”.Asofnowbigcitieshavebecomemeetingplacesforscholarsandthoseofartsandculture.Uptothe90’soflastcenturyhowever,paintersbasedinmetropolitancitieshadrarelychosentodepictmetropolitanthemeswithwaterandink,theartformoftraditionalChinesepainting.Metropolitanlandscapehadbecomeaforbiddenareawithoutanyoneopenlysayingso.Peoplewouldhangontheiroldhabitsofenjoyingtheremoteandquietnaturalscenesfarawayfromnoisycitiesandcity-basedpainterswereneglectingthesurginghappeningsaroundthemandwouldnotgivethemanyexpressionwiththeirinkandbrush.Wouldn’tyousayitissomethingtobesorryfor?
1992ImovedtoShengzhenganddidmyshareofsketchinginurbanareasunnoticeablyandattemptedtodepictcitythemeswithwaterandink.IhavevirtuallyspentthepasttwentyyearsinBeijingandShengzheng,occasionallyvisitingShanghai.Mysentimentalattachmenttocitiescanbedatedfarback.ThirtyyearsagoIwasayouthfascinatedbyLuXun’sworksandstoriesaboutShanghai.Myadmirationsofcitiesstartedsincethen.WhenlaterIhadmyownplaceinthesocietyIwouldalwaysvisitShanghaiandBeijingwhenpossible,toseecustomsthere,culturalantiquesandfamousclassicpaintings.ThinkingbacktothosetimesIhavebeenatruecitywalker.
Whatissogoodaboutthecities?Somepeoplewouldscoff.Someofmyfriends,intheiridletalk,wouldoftenletgotheirfondfeelingstoward,andfascinationsofthequietpastorallife,theremotecountrysidefarawayfromurbanareas.Forme,thecitiesastheyare,areaconcentratedformofexpressionofachievementsofmodernindustrialcivilization,areplaceswheretalentsofhi-techliveandworkandalsothecenterswherethefastestpropagationforhi-techandallkindsofinformationisgoingon.
Metropolitancitiesarethemostefficientbasesfordevelopingadvancedproductivity,areprovidingthebestenvironmentformodernmentoenjoymaterialandspirituallife.Livingandworkinginametropolitancitynowistobeconsideredlucky.Eachmetropolishasitshighlevelmuseum,fineartsinstitute,andlibraryandsuchculturalfacilitiesshouldgiveusamplechancestostudy,absorbandappreciateallkindsofknowledge.Schoolsanduniversitiesandinstituteofartsholdshowsandexhibitionsoffineworksbyartistsofbothhomeandabroadandacademicforumsofvariousdisciplinesareorganized.Asadevoteetofinearts,onesurelywouldcareaboutallthese.
Metropolitancitiesarewhereculturalworksandallsortsofbooksarepublishedandinternationalculturalexchangestakeplace;forascholarabigcityalwaysoffersbestchancesintermsofbuyingbooksorgettingbookspublished.
Metropolitancitieshaveeverythingthemodernmanwouldneedinhislifeincludingconcerthall,theatre,pianobar,starhotel,high-levelballroom,quietteahouseandhighfashionclothing.HavinglivedinShengzhengfortenyearsIhavegrownadeepattachmenttothisnewlyemergingcity.Ihavekepttryingtodepictcitythemeswithwaterandinkandenjoyeddoingsoforpasttenyearsandmore.Everybodyknowsthatrightnowsuchpaintingsdonotfetchmoney.Ihavepaintedsomecitysceneslike“AShengzhengVilla”,“NanshanNewStreet”,and“ShengzhengIndustrialEstate”,whichbelongtothefirstphaseintheperiodof1992through1996whenIfirstexploredintotherealmofmetropolitanlandscape.Judgingtheseworksnow,theyareshortofdepthandsomewhatsuperficialthoughtheyhavetransformedgraduallyfromthetraditionalChinesepainting.Unsatisfiedwiththem,Itriedwithwaterandink,someofthecityresidenceandroadjunctionsandbasementparkinglot.Mymeansofexpressionhadsomewhatdevelopedascomparedwithphase-I-worksandtheywerefairlymodern,andwerebasicallyfreefromthetraditionalChinesepaintingformalities.
EarlythisspringIhadasuddeninspirationinmystudioandpaintedaseriesofframes.AfterrepeatedexperimentsIcametoanabstractpicture,whichisquitedifferentbothfromtraditionalwaterandinkandfromtheactualtrueimages.Ibelievedthatmyabstractframeserieswasabreakthroughnotonlyintermsofimagecharacteristics,butwhatismoreimportant,abreakthroughfrommyoldcreativeconcept.Soaseriesconstructedwithcoldabstractwaterandinkwasgoingtoopenthedoortoanewpaintinglanguage.
JustasDr.HeJialinoflandscapepaintingofChinaAcademyofFineArtssaidinhiscommentaryonthisseriesofframes,“thisisahurdleveryhardtoovercomeforclassicwaterandinkwhentryingtodepictmodernmetropolitanthemes.Manyaclassicpainterdevotedtometropolitanlandscapehadstoppedshorthere.MaBoshenghowever,thankstohisbreakthroughinimagecharacteristic,hassimplifiedhisinkandbrushcharacteristics.Bycombiningstructureandqualityofinkandbrushhemanagedtoshowaverystrongchangeabilityindryandwetandinlightanddark.Thatplushischoiceofsubjectsandexpansivespacehehasgreaterpotentialyet.”
Thiscommentofhisisofcourse,anencouragementtomebutatthesametimealsoanexpectation.Iwillkeepwalkingnon-stopinthemetropolitancities,experiencingtherichresourcesprovidedbymodernmetropolitancivilization.SinceIlovethemetropolis,mylovewillhavetoproduceresults.Tirelesslycreatingwaterandinkworksthatliveuptoourgreattimeswillremaintheunchanginggoalofmylife.
FromIdiographictoSemi-abstract(从具体到半抽象――关于马波生的近作作者鲁虹)AboutMaBosheng’sRecentWorksByLuHong
MetropolitanthemeshavenowbecomeanewtopicintherecentreforminChinesewaterandinkpainting.Justhavingmetropolitanthemeswouldnotnecessarilygeneratefreshvitalityforthewaterandinkpainting.Effortsonthepartofsomewaterandinkpaintersinthisregardhaveprovedthatbypaintinghighrises,elevatedbridgesandglasscurtainwallsetc,onecouldonlydepicttheouterimageofametropolitancityandcouldnotreachtheessence.Conversely,iffromagreaterheight,i.e.observingfromthesociologicalandculturalangles,awaterandinkpaintercouldmakehisapproachtothemoderncitiesandhisstudiesoftherelevantissuesofarts,andheshhouldhaveachancetoleadhiscreativeworktoanewrealm.IthinkoneexampleofthelatterisMr.MaBosheng,apainterbasedinShengzheng,withhisrecentartisticpractice.OntheonehandMr.Mahasbeenexperiencingvariouskindsofstimulibroughtaboutbytheincessantchangesinthemetropolitanscenesandontheotherhandhehasbeenallthetimethinkinghowtoanswerthesestimuliwithnewmeansofexpressionbywaterandink.Iwouldsayhischoicefullyreflectshispersonalityandhisartisticaccomplishments.
Ma’sexplorationintheworldofartscouldberoughlydividedintothreeperiods:1992through1996,phase1sincehegotintometropolitanwaterandinkpainting;1996through2001isphase2offurtherexplorationwhilephase3starting2001tonow,hasbeenaperiodofreformsandworkingoutnewthings.InMa’searlyworksofcitylandscapeheusedonmanyoccasionsthetechniquesof“JinglingSchoolofPainters”andcertainveteranpainters’techniquesinpaintingmoderncities,(likeLiKeran,ShiLuandGuanShanyue).Thatis,combininginasubtleandcleverwaythedry/wetanddark/lightbrushskillswithexpressivewaysoflinedrawing,resultinginastrengthenedcharacteristicofmoderncitylandscape.Asregardsartisticconceptionhefocusedonanatmosphereofpeaceandquiet,leisureandserenityincontrastwiththecity’snoisiness,fracasandrestlessness,subtlypresentinghisidealsoflife,whichisfreefrompollution,publicnuisance,povertyandwar,andreflectinghisinheritanceoftraditionalworldoutlookof“integrationofheavenandman”.InthemidperiodofexplorationMaBoshengdid,ontopofwhathehadalreadyachieved,consciouslyusethestructuralmethodofWesternmodernism,i.e.emphasizingconsciouslythecomparisonoflinewitharea,densitywithsparseness,stillnesswithdynamicsonthebasisofcomplanation.Hisworksofthisperiodaremorepronouncedinindividuality.Besides,harmonioushandlingoflargeclustersofwoodsandhousesservestothrowintostrongreliefthe“poeticresidence”,arealmofmodernphilosophy.
MaBoshencouldhaveverywellfurtheredhisoriginalexplorationandensuredhisplaceintheterritoryofmetropolitanlandscape.Buthe,whowouldnotrestwithwhat’salreadyachieved,hasagainexploredintoanewercreativeformulabasedonhisnewexperience.Aswehaveallseen,inhislatestworkhemadeadrasticchangefromthethousands-of-yearstraditionofpaintingbrushtobroadbrush.Intermsofartisticeffectsusingbroadbrushnotonlyincreaseswidthofinklinesandtheirpowerofexpressionbutalsohelptoemphasizetheinnerstructureandartisticconception.Andinrelationtothat,hisnewerworksnolongerdepictdetailsinmetropolitanscenerybutinsteadabstractsitsframestructureandthenturnthethree-dimensionalspacetotwo-dimensionbyusingthecomplanationalstructuralmethod.Ibelievethatwhyhisseriesofmetropolitanframesarevaluableworksisbecausehehasenteredareaswhichtraditionalwaterandinkwouldhavehardlyanyaccessto,therebyleadingittoanewstageofdevelopment.Whatismore,inhisnewerworksonegetsanaestheticfeelingofvacant-nessandsolemnity,whichisreallyhardtocomeby.
IntheartistictransformationofMaBoshengweseehisdrasticturnfrompaintingcityscenerytopaintingmetropolitanwaterandink.Admittedly,bothcitylandscapeandmetropolitanwaterandinkarebasedonthesubtlegraspofcontemporarylifeandrecognitionoftransitionofwaterandinktomoderntimes,yetcitylandscapeonlyraisesthemodern“concreteforests”toaplaceonthesamelevelwithnaturallandscape,inwhichtraditionalscholarsandpoetshaveplacedtheirhighandgenteelidealsandso,actuallyitdoesnomorethanexpressesafuzzyaspirationtothemodernwayoflife,andwouldeasilylimittheartiststoamereexpressionoftheouterlookofthemetropolitancities.Themetropolitanwaterandink,ontheotherhand,clearlyputsanemphasisontherelationshipbetweenwater/inkexpressionandtheconceptofmodernmetropolis,leadingtheartisttofocusmoreontheessenceofmodernmetropolis.Heretheone-worddifferenceasbetweencityandmetropolisimpliesdifferentartisticpursuits.StartingfromsuchanangleIbelievetheartisticexplorationsbyMaBoshengtheartistareworthallhisfellowartists’referenceandconsideration.