Gao Shiming
2014
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SHARING SILENT SECRETS:<\/strong> Cao Xiaoyang\u2019s Way of\u00a0Shanshui<\/em><\/strong> Xiaoyang has devoted himself exclusively to\u00a0shanshui<\/em>\u00a0art (Literally, \u2018mountains and water\u2019; the Chinese concept of brush-and-ink landscape painting.) for over ten years. And through all these years, each time Xiaoyang paints, it seems that he is seeking to evoke the archetypal\u00a0shanshui<\/em>\u00a0scroll: the scroll that has endured through thousands of years, through the ravages of time, the invasions of insects, the turmoil of war, and that retains faint, misty traces still discernible on its surface. This scroll, in itself, is\u00a0shanshui<\/em>. How, then, to define\u00a0shanshui<\/em>? It is more than the physical scenery that appears before our eyes. It transcends the forests, springs, hills and valleys we have travelled through in our lifetimes.\u00a0Shanshui\u00a0<\/em>is a perfect oneness, an organic amalgamation of mountains, rivers, roads and paths, cliffs and rocks, trees and groves. In a\u00a0shanshui<\/em>\u00a0painting, all things appear before us in a balanced equality. Its form can change in a single breath, as the myriad elements of nature shift and emerge, and the mountains and rivers coalesce. It is an endless series of images, wherein all that is above and below, in foreground and background, appears in a vast continuity, without breaks or borders, a single broad perspective without end or vanishing point. Scrolls of this nature play no role in the art-historical debate between the \u2018subjective expressiveness\u2019 of the brush and \u2018real landscape\u2019. There is a deeper meaning here, but it is difficult to convey in words. Here, in this scroll, the artist\u2019s skill is in the ability to master the gestural movements of the Creator, to capture the links that lead back to the source of life in the universe, and the way in which the myriad things of the universe manifest into form. When sketching in nature, the artist stands amidst the mountains. When painting in the studio, the scenery reappears in the artist\u2019s mind, and materializes through the movements of his body: the painter and his subject matter become as one, bonded together in a process of mutual cultivation, like polishing a piece of jade. This process of cultivation or \u2018polishing\u2019 also reveals a worldview. In this scroll the secrets of nature are made visible through the aggregation and elaboration of myriad images and forms. Xiaoyang executes his\u00a0shanshui<\/em>\u00a0paintings with charcoal, eschewing the unique expressive charm and myriad other seductions of brush and ink. Charcoal enables the artist to attain greater intimacy with the physicality of the objects themselves, evoking a line from Jing Hao\u2019s (855-915 CE 980)\u00a0Notes on Brushwork\u00a0<\/em>(Bifa ji<\/em>): that\u00a0qiyun\u00a0<\/em>\u2014 \u2018rhythmic vitality\u2019 or \u2018spirit resonance\u2019 \u2014 must be realized through form and concept. In making charcoal by burning wood, one is creating an artist\u2019s material from the very substance of trees. When this dead material comes back to life under the control of the artist, it once again attains the form of rivers, mountains ranges and valleys. Xiaoyang manipulates this basic, elemental material with extraordinary virtuosity, creating his own subversive method of dots and strokes, wash and texture. Not only does his charcoal painting dispense with overelaboration and superficiality, and grasp what is essential, he is able to go beyond the power of the brush and create works of remarkable subtlety. Using charcoal as his \u2018brush\u2019, the artist not only paints in black\u2013 he also paints in white. The moment the charcoal touches the paper, the painting surface immediately ceases being a void, and when the painting is finished there is no part of the surface that is \u2018empty\u2019, that is not part of the painting. The dazzling white ground that the charcoal struggles to carve out is not a void, but rather a presence. \u2018Knowing what is white, but embracing what is black, and thus providing a model for the world\u2019. Xiaoyang\u2019s\u00a0shanshui<\/em>\u00a0art has its origins in his experience with woodcut prints, with their strong chiaroscuro quality. This is not the traditional Chinese approach of \u2018measuring the white space as if it were black\u2019 [i.e. treating the background as if it were the subject matter]. In his works, black trumps white, and the white reinforces the black; black and white reflect each other\u2019s light and shadows, like heaven and earth in primeval chaos. When painting with charcoal, creating wash effects is extremely challenging. But such effects do not rely so much on mastery of brush and ink techniques, but rather depend on the artist\u2019s\u00a0qiyun<\/em>, rhythmic vitality or spirit resonance, which is expressed through acts of concealing and revealing. The role of the artist is simply to render visible the materiality of both darkness and void. This process is not to be compared to the uncanny science of developing photographic prints in a darkroom, but is more evanescent, like carving or taking a rubbing from something formless and shapeless, teasing out threads of thought from the tapestry of the ineffable darkness. At the moment the glimmering dawn separates the world from the night, the face of creation gradually takes form, emerging from a multitude of subtle, infinitesimal details. The Way of Painting comes down to the process of revelation and concealment. The painter problematizes process: he repeatedly transforms substance into nothingness, presence into absence, and then reverses the process by restoring emptiness to substance; in the continual interchange between what is visible and what is not, the images are mutable, lacking any fixed form. Void reverts to substance, substance returns to void. These continuous cycles of shifting between illusion and reality are a paradox of appearance and disappearance. The artist attempts to delineate in his work what cannot be outlined in words; to illuminate situations that defy definition. The artist is attuned to subtle, mysterious changes and disturbances; from these illusive sources he creates works of art, just as the myriad transformations are uninterruptedly taking place in nature. Among these transformations, the artist seeks out a process of externalization and effusion. He attends to the infinitesimal, not only to panoramic vistas and viewpoints, concentrating on the inner workings of things. Embodied in form and concentrated in spirit, the hand of the painter guides and directs the eye in its observation of objects; the artist\u2019s perceptions are at once physical, and intellectual; this is called \u2018investigating the nature of things by means of the self\u2019. As if blind and deaf, the artist becomes indistinguishable from nature, and unconstrained by emotions, only the paper in his hand can reawaken him, at a point when the entire phenomenal universe is transformed into the patterns of clouds and mist emitted from his brush, and are manifested on the surface of the painting. Emotions never cease changing, ultimate wisdom is attained through external objects; this is called \u2018understanding the self through the medium of external things\u2019. Between the self and external objects, where Heaven and mankind intersect, there is only disappearance and reappearance, sinking and resurfacing. \u00a0From ancient times, painting has been a conceptual and spiritual practice. Rare are the individuals who can hear the sounds in the remote silence. Xiaoyang has only shown his\u00a0shanshui<\/em>\u00a0paintings to a small circle of friends and disciples. We can go so far as to say that Xiaoyang has been working on these\u00a0shanshuis<\/em>\u00a0in secret for the past ten years. This work is secret not only because so few people are aware of it, but even more because what these works strive for is the secret of nature\u2019s creation. Sunlight and clouds fill the sky, dragons and snakes inhabit the land; there are endless spiritual transformations, but their mystery and subtlety defies ready understanding. \u00a0\u2018Standing at the center and encompassing the entire universe\u2019, the artist can share the abstruse overtones of these hidden sounds; slowly over time, he seeks out their subtle mysteries. Xiaoyang\u2019s approach to\u00a0shanshui<\/em>\u00a0is perhaps best reflected in a concept contained in the ancient text\u00a0Guicang<\/em>: the idea of \u2018returning to the mystical storehouse\u2019 from whence all things emerge. The above is little more than the ranting and raving of an admirer. Among a handful of friends, perhaps these words can serve as a source of inspiration.<\/p>\n\n\n\n (Translated by Don J. Cohn and Valerie C. 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And through all these years, each time Xiaoyang paints, it seems that he is […]<\/p>\n","protected":false},"author":8,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[87],"tags":[],"class_list":["post-2814","post","type-post","status-publish","format-standard","hentry","category-87"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.hanart.com\/zh\/wp-json\/wp\/v2\/posts\/2814","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.hanart.com\/zh\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.hanart.com\/zh\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.hanart.com\/zh\/wp-json\/wp\/v2\/users\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/www.hanart.com\/zh\/wp-json\/wp\/v2\/comments?post=2814"}],"version-history":[{"count":0,"href":"https:\/\/www.hanart.com\/zh\/wp-json\/wp\/v2\/posts\/2814\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.hanart.com\/zh\/wp-json\/wp\/v2\/media?parent=2814"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.hanart.com\/zh\/wp-json\/wp\/v2\/categories?post=2814"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.hanart.com\/zh\/wp-json\/wp\/v2\/tags?post=2814"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Gao Shiming<\/strong>
Xiaoyang once said: \u2018All my exhibitions have one single theme:\u00a0shanshui<\/em>.\u2019
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