Sun Shanchun
2014
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SHANSHUI<\/em>: A VIEWAn Appreciation\u00a0of Cao Xiaoyang\u2019s\u00a0Art<\/strong> \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u2014\u2014 Albrecht D\u00fcrer<\/em> The reason I\u2019ve quoted Albrecht D\u00fcrer above is not so much that Cao Xiaoyang is also a printmaker, but rather on account of two grand words that D\u00fcrer mentions: \u2018Art\u2019 and \u2018Nature\u2019. Both are objects of human admiration and pursuit, by many different means and for many different reasons. The multiplicity of ways in which Art and Nature are discussed has in fact greatly enriched human culture. And then there is also the multiplicity of ways of making \u2018Art\u2019. But what about Nature itself? What do we \u2018do\u2019 with it? As the modern world becomes increasingly more \u2018acculturated\u2019 it seems natural for the word \u2018nature\u2019 to be applied to human beings. Art is a human activity \u2014 it is the \u2018culture\u2019 we impose on Nature. As the world\u2019s population explodes, where has nature gone? Some philosophers say, nature has receded, just like a hermit retreating deep into the woods, making friends with the wild landscape and the creatures who inhabit it. Is it possible that \u2018retiring\u2019 Nature has already succeeded in covering its tracks and disappearing completely from our purview? Scholars such as Alexander Wilson say that landscape is a complicated product of civilization, a way of perceiving the world, an imaginary of how humans and nature interact. Landscapes are the collective and societal thoughts and actions of people. This is not difficult to understand: for westerners, landscape is also a culture and a philosophy, even if their narratives of landscape do not seem to contain as many \u2018principles\u2019 as ours. Neither our \u2018shanshui<\/em>\u2019, nor their landscapes, are merely mountains and rivers, landforms and water patterns; they represent a realm hidden deep within us, and deep within them, even though many are not conscious of this. Artists like Cao Xiaoyang use their own hands to engage in a kind of artisanship, and through action they bring the landscape directly into their own lives, so that it becomes part of their very being. That is at least how I understand it. In their paintings, one witnesses the subtle intricacy and the innate difficulty of the handmade creation. Many of Cao Xiaoyang\u2019s works are sketches from nature; one could say he takes Creation as his master. But while the things of Creation are active, changing in accord with the human affairs that impact them, Creation itself is hidden, unmanifested. There are theorists such as the painter Fu Baoshi who say that an ideal\u00a0shanshui<\/em>\u00a0should accurately depict reality, which is in fact not possible. Yet this statement is worthy of consideration. This is how his argument \u2018should\u2019 be interpreted: If a painter can truly comprehend the creative function of nature and harness the power of its\/her (should we call Nature \u2018it\u2019 or \u2018her\u2019? This small detail is a source of some anxiety for this writer) eternal Dao, then he could paint the \u2018real\u2019 landscape. But such ability belongs only to those enlightened few who have truly grasped the Dao. A painter, however, is only a mere mortal. He uses \u2018human\u2019 eyes to investigate, to feel, and to portray\u00a0shanshui<\/em>. There are many things he must study, and more than one path he must follow, in order to learn how to see, to feel, and to portray. Here we are speaking about\u00a0shanshui<\/em>\u00a0in the human context: and this is where we encounter the big question of tradition. Tradition can be described as people\u2019s constant and diligent effort to establish an eternal, unchanging consistency: as such, it \u2018should\u2019 be to some degree in correspondence with, or in opposition to, the Dao of Nature. Therefore, tradition is also problematic: it cannot solve all difficulties at once. Tradition can convert people, but this conversion necessitates making a choice; it can give people a sense of belonging, but this belonging comes with a price. Tradition is in fact a living thing, because it lives on through those who believe in it \u2014 it dwells within the believers. Tradition is also a way of life; a way of life that becomes heavier and more complex the longer it endures through history. For a painter, tradition gives him ways of viewing the world, but never just one way. To put it another way, all traditions require that you actively purse and painfully determine your choice: what to throw away and what to keep, whether to forge ahead without looking back or to linger and explore the territory: it is all up to you. Tradition is not an answer, just as life itself is not an answer. And it\u2019s the same for those who paint\u00a0shanshui<\/em>, who seek to \u2018learn from Nature how to reach the source within\u2019: one must study, one must choose. Tradition can also confuse people. Those who have seen Cao\u2019s work often will start talking about the classical elegance of Song-dynasty\u00a0shanshui<\/em>\u00a0paintings and mourn the loss of the ancient methods. Painters think about this too; it is an inescapable question. However, artists still must paint; and thus they must seek out the traditions that exist within their own minds and hearts, and harness the inner wellspring that connects them to the\u00a0dao<\/em>\u00a0of Nature. These\u00a0shanshui<\/em>\u00a0must be his own\u00a0shanshui<\/em>, must be his own tradition, must be his own self: his own present, in this moment and as it begins to move into the past. It is my longstanding insecurity as a viewer that Cao Xiaoyang has touched: living in the modern world I, (and the \u2018some people\u2019 I mentioned before), must suffer this fracture: Tradition is majestic,\u00a0shanshui<\/em>\u00a0is profound, but we can only view these things, engage with these things, from within our identity as contemporary people; and then we must make our own decisions and create our own methods accordingly. The artist is sincere and honest: he tells us frankly about his interactions with tradition and his yearning for\u00a0shanshui<\/em>. Yet neither the line, the ink nor the colour washes of traditional Chinese\u00a0shanshui\u00a0<\/em>painting directly exist in his work; strictly speaking, from the point of view of tradition, his\u00a0shanshui<\/em>\u00a0paintings cannot really even be called\u00a0shanshui<\/em>. To be frank, what he creates is really a contemporary artist\u2019s \u2018interpretation\u2019 of traditional Chinese\u00a0shanshui<\/em>\u00a0painting. So, where, then, is\u00a0shanshui<\/em>? Where is tradition? Standing in front of Cao\u2019s work, these are the fundamental questions that materialize before us, channeled through the medium of charcoal on paper and tinged with an edge of loneliness, of quietude. People have always yearned to return to Nature, to \u2018become\u2019 Nature. An admirer of the 19th<\/sup>-century painter George Inness once commented: \u2018He himself is nature.\u2019 For me, at a time when civilization has developed to such a point, and culture has matured to such a point \u2014 or rather has over-matured and decayed into such violence \u2014 attempting to think about concepts like \u2018style\u2019 and \u2018method\u2019 gives me the shivers, never mind thinking about \u2018nature\u2019. Our bodies are infiltrated with myriad uncertainties and deep-rooted anxieties; and culture grows and emanates from the body \u2014 perhaps it has always been this way. As Buffon said, \u2018Style is the man himself.\u2019 I am going to take a risk here and say that Cao Xiaoyang, himself, wants to \u2018become Nature.\u2019 Or to put it another way, he wants to \u2018make\u2019 Nature, to enact Nature. If such longing did not exist, then why would we have concepts such as \u2018soothing the spirit in Nature\u2019 (changsheng<\/em>) or \u2018Man and Nature are One\u2019 (tian ren\u00a0he yi<\/em>)? If this kind of longing did not exist, there would be no poetic connections between men and mountains, and all the poems celebrating these connections would not exist. This is why the\u00a0shanshui<\/em>\u00a0that Cao Xiaoyang so lovingly brings to life on paper has such power to move us: it allows us to travel through many different trajectories, to encounter the \u2018obscure and indistinct\u2019 nature of the\u00a0dao<\/em>, and to dissolve time \u2014 wandering freely through time present and time past. February 2013, at the Erji Studio, Hangzhou (Translation by Felix Chan <\/em>Ho Yuen<\/em> and Valerie C. Doran)<\/em><\/p>\n\n\n\n (Note: This text is excerpted from Sun Shanchun\u2019s original Chinese essay) \u4e0d\u8981\u4f9d\u9760\u4f60\u81ea\u5df1\u7684\u89c0\u5ff5\u800c\u80cc\u96e2\u5927\u81ea\u7136\uff0c\u66f4\u4e0d\u8981\u4ee5\u70ba\u4f60\u80fd\u5920\u5275\u9020\u51fa\u66f4\u7f8e\u7684\u5716\u756b\u2026\u2026\u56e0\u70ba\u85dd\u8853\u6df1\u6df1\u5730\u690d\u6839\u65bc\u5927\u81ea\u7136\uff1b\u53ea\u6709\u5728\u5927\u81ea\u7136\u4e2d\u767c\u73fe\u4e86\u85dd\u8853\uff0c\u624d\u80fd\u771f\u6b63\u5730\u64c1\u6709\u3002<\/p>\n\n\n\n \u2500\u2500\u4e1f\u52d2 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2014\u5e742\u670830\u65e5\uff0c\u65bc\u53e4\u6b66\u6797\u4e8c\u96c6\u8ed2<\/p>\n","protected":false},"excerpt":{"rendered":" Sun Shanchun2014 SHANSHUI: A VIEWAn Appreciation\u00a0of Cao Xiaoyang\u2019s\u00a0ArtSun Shanchun \u2018Therefore observe it diligently, go by it and do not depart from nature arbitrarily, imagining to find the better by thyself, for thou wouldst be misled. For, verily, \u2018art\u2019 is embedded in nature; he who can extract it has it.\u2019 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 […]<\/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-2816","post","type-post","status-publish","format-standard","hentry","category-87"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.hanart.com\/zh\/wp-json\/wp\/v2\/posts\/2816","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=2816"}],"version-history":[{"count":0,"href":"https:\/\/www.hanart.com\/zh\/wp-json\/wp\/v2\/posts\/2816\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.hanart.com\/zh\/wp-json\/wp\/v2\/media?parent=2816"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.hanart.com\/zh\/wp-json\/wp\/v2\/categories?post=2816"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.hanart.com\/zh\/wp-json\/wp\/v2\/tags?post=2816"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Sun Shanchun<\/strong>
\u2018Therefore observe it diligently, go by it and do not depart from nature arbitrarily, imagining to find the better by thyself, for thou wouldst be misled. For, verily, \u2018art\u2019 is embedded in nature; he who can extract it has it.\u2019<\/em><\/p>\n\n\n\n
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\u5c71\u6c34\u2022\u89c0\uff1a<\/strong>
\u2500\u2500\u5beb\u5728\u66f9\u66c9\u967d\u7684\u201c\u6240\u8b02\u201d\u5c71\u6c34\u9762\u524d<\/strong>
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