Anna Zhao

    anna.whizh@yahoo.com

    MORE than 110 ink and wash paintings by 39 young Chinese artists are on exhibition at Guan Shanyue Art Museum through Jan. 20.

    Themed “On the Road,” the exhibition is an examination of the latest developments in ink and wash painting and features works that were nominated by renowned art critics. The exhibited works are all by contemporary artists, most of whom were born in the 1970s and 1980s.

    While traditional black ink is the major media used for the paintings, contemporary artists use more variety than just brush and ink. They have more freedom in using materials and consider ink a cultural carrier.

    The exhibition opened with a dance duo who dressed in costumes of black and white — symbolizing the fundamental elements of an ink and wash painting — to portray dynamic pictures through their dramatic postures, somewhat like freehand brush strokes.

    A huge picture in the museum’s central hall by artist Zeng Jianyong is representative of the derivations from traditional ink and wash paintings that are found in the exhibits. The painting is about a colorful, legendary world with animated human and animal characters that also boasts tranquil, detailed depictions of human facial expressions. The artist, who has good mastery of both Chinese and Western painting skills, has established a unique style that combines watercolor painting, oil painting, cartoon and print painting through ink and mineral pigments.

    While the exhibition is primarily about paintings, exhibits of installations, animations and videos are also on display to further explain ink and wash art.

    Two exhibits of costumes by artist Wang Lei are such deviations. The artist twisted old newspapers into ropes to knit into the costumes.

    While some of the exhibits can be categorized as ink and wash paintings, some others have transcended boundaries by using non-related materials that imitate ink.

    The animation “The Country of Summer Insects” by artist Tang Bohua, adapted from an ancient Chinese fable, retains antique sensibilities.

    Artist Yu Tong created a dynamic view of mountains with shadows projected on a sheet of rice paper. The light beaming through an installation of half-transparent plastic material gives visitors an impression that they are traveling through mountains.

    “The genre of ink and brush painting has transcended tradition and become an all-inclusive category with controversial definitions,” said critic Li Sa. “It is more of a cultural concept and identity with no clear-cut definition and form.”

    Art critic You Jiang said that contemporary ink and wash art is transcending traditional realistic expressions, and artists are paying greater attention to the human condition and are increasingly applying new media as their artistic language. “I think contemporary ink and wash works are profound reflections on a wide range of social-cultural issues and voice criticisms in an artistic way,” You said.

    He added that he felt a sense of consumerism creeping into the field after viewing the whole exhibition. He believes that contemporary artists, in particular young artists, tend to interpret ink and wash painting as a Chinese cultural element and simplify its expression by merely using black and white materials.

    He also acknowledged that the current art market, where ink and wash paintings were hotly traded, may have a negative impact on artists’ growth as they tend to cater to the taste of buyers instead of pursuing artistic excellence.

    Critic Wang Dongdong said innovation with ink and wash art should be based on views of the world, rather than changes in format and materials used in works. He thinks the art will have new potential by integrating perspectives of social culture.

    The exhibition will tour to Chongqing, Wuhan, Beijing and Shanghai after the Shenzhen exhibition.