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Onward from Concepts: 2012 New Chinese Literature Exhibition

List Price£º£¤160
Author£ºHang Chunxiao Editor-in-Chief
Publisher£ºTianjin people¡¯s fine arts publishing house
Publication Date£º2012/9/1
  • Edition£º1
  • Pages£º246
  • Packaging£ºPaperpack
  • Printing time£º2012/9/1
  • Format£º Large 16
  • Paper£ºUncoated paper
  • Printed£º1
  • ISBN£º9787530548476

The concept of ¡°fine inkbrush painting¡± certainly does not possess a stable foundation to represent tradition. It is a concept which emerged amid temporal flux and helped to change traditional painting¡¯s mode of utterance. That being so, any bid to solidify the mode of seeing, the mode of creating or the genre boundaries of ¡°fine inkbrush painting¡± goes against the concept¡¯s original intent. That is to say, fine inkbrush painting should not be, and cannot possibly be, a closed genre of painting. With respect to the present moment, it must maintain its transformability, tempered by self-scrutiny, and thereby continually activate and expand its boundaries. Thus to speak of going onward from the concept of ¡°fine inkbrush painting¡± is not to negate it. Rather, this is proposed to enliven the genre¡¯s creative practice while redrawing its boundaries

Book Description

In the works exhibited here we can see an array of brand new visual structures which continually dissolve and re-configure the boundaries of ¡°fine inkbrush painting¡± as we know them, allowing novel modes of discourse. From the instrumental discourses of naturalism and aestheticism, with their predetermined logic, there is a shift towards new interplay of visual versus intentional or conceptual, opening up different aims of discourse. This effort without a doubt lets ¡°tradition¡± become a path of new realization rather just a commemoration of classical sensibility. Thus a seemingly traditional painting genre comes to possess powers of intervention in the ¡°here and now.¡± What is more, new works from within this creative circle, along with continued emergence of younger painters, show that the effort to redraw boundaries has entered an open-ended, ongoing phase. There is still a profusion of possibilities and futures, so this is not a closed, programmatic ¡°school of painting.¡± This is a movement which has helped compatible explorations to maintain vitality while continuing to assess its own direction, which is an effort to break down restraints of accumulated experience, thus releasing the power of inkbrush painting to articulate realizations about present-day culture. In so doing it has become the most noteworthy contemporizing movement in the field of Chinese painting.

Author Description

Hang chunxiao Born 1976 in Dangtu, Anhui, graduated 2002 from Nanjing Art Institute with M.A. in Art History, is now Associate professor at China Art Research Institute. Has published the following articles in scholarly journals: ¡°A Study of Taotie Patterns on Shang and Zhou Bronzes,¡± ¡°Opening Up Painting Resources: The Ancient Relic Display Center and Paintings of the Early Republican Period,¡± ¡°A New Reading of Cai Yuanpei¡¯s ¡®Painting from Life with Concrete Subjects,¡¯¡± ¡°Cognitive Insights and 20th Century Chinese Art,¡± ¡°Disillusionment and Reconstruction of Literati Ideals: A Psychological Inquiry into Wen Zhenghui¡¯s Official Career.¡± His published books include Outline History of Fine Arts Archaeology in China, History of Ancient Chinese Painting, The Ming Dynasty Wu School of Painting. Has independently undertaken a national research project: ¡°Revaluation of Fine Arts Amelioration in the Early Republican Period.¡± He has curated such exhibits as ¡°New Amelioration¡ªPathbreaking Painters¡±; ¡°Ilusion and Essence¡ªExplorations of Contemporaneity in Chinese Fine-Brush Ink Painting¡±; ¡°Thinking > Tactile Sense¡±;¡°Redeeinitions¡ªThe Questioning Spirit in the Art of the 1970s Generation¡± ;¡°Observation & Rhetoric¡±;¡°Trans-Media¡±.

Table of Contents



Chen Lin

Cui Jin

Gao Qian

Hang Chunhui

Hao Liang

Jiang Ji¡¯an

Jin Sha

Lei Miao

Pen Wei

Qin Ai

Xiao Xu

Xu Hualing

Yang Yu

Zhang Jian

Zheng Qingyu




Of course this assessment does not negate the contemporary art influence that such a movement may exert or the possibility of its intervention in contemporary art issues. Rather, this assessment is an inductive operation which yields meaning in theoretical terms. That is to say, we need to be aware that with respect to individuals, induction is path of generalization which leaves a great deal out. The set of problems faced by each individual has logic of its own, so there will surely be differences in mode of experience and outcome. There is a natural plurality of outcomes, with a richness that theory cannot encapsulate. For this reason we posit that ¡°new fine inkbrush¡± moves ¡°onward from concepts.¡± This is not a historicized value judgment on art style; rather it is based on the culturally activating function the movement possesses. Through changes in visual structure it seeks to give traditional resources a contemporary mode of discourse. At the same time, it becomes a cultural indicator disclosing the deep rifts which ¡°tradition¡± is even now undergoing.


¡ª¡ªHang Chunxiao <Onward from Concepts: Redrawing the Boundaries of Fine Inkbrush Painting>