Gao Wei<\/p>\n\n\n\n
Gao Wei Ancient Chinese thought that the world was composed of the five basic elements of gold, wood, water, fire and earth. In Hsu Yu-jen\u2019s fine-brush ink-wash painting, however, the world is composed of interconnected small dots and extremely fine lines. Furthermore, this world takes the shapes of squares, circles, rectangles, triangles, and irregular geometric forms. It might raise some brows that these paintings are called ink-wash painting at all. Who has ever seen a Chinese ink-wash painting dominated with geometric forms? Such a contrast is astonishing indeed. In our mindset, traditional Chinese ink-wash paintings should portray natural images such as rivers, mountains, flowers, birds, fish, and insects and convey through them the spirit, charms, connotations and the way of the world in the traditional Chinese culture. That is why when we as spectators are faced with Hsu Yu-jen\u2019s brand-new ink-wash paintings, we are provoked to think twice over the definition of the artistic form. Who Says that Ink-Wash Shall Not Be Painted in This Way?<\/strong> Surprisingly, the creator of these works received formal training in painting. Over 30 years ago, Hsu Yu-jen graduated from the National Taiwan Academy of Arts (National Taiwan University of Arts). The school is the former \u201cNational Academy of Arts\u201d (renamed later as \u201cNational Taiwan Academy of Arts\u201d) established by Mr. Cai Yuanpei and Mr. Lin Fengmian by the West Lake and has a long-standing history of innovation on the basis of the tradition. However, tradition was dominant at the school when Hsu Yu-jen studied painting there.<\/p>\n\n\n\n In his own words, Hsu Yu-jen \u201cmuddled\u201d into the school, for he did not start learning painting until 6 months before he had the entrance examinations. As a young man, he liked traveling and making girlfriends. To go to college, he left Jiali, a rural town in South Taiwan and went to the metropolitan Taipei. He had a sudden revelation one day and fell in love with books on arts. He then frequented the library and read all the books in the school within half a year. In the mean time, he also started painting. As he did not receive much systematic painting training at the beginning and learned painting by himself, he had a distinct style that set him apart from others. \u201cI think my painting is special. It is different from the works of anyone else. I did not know the so-called \u2018style\u2019 then, but I felt that I could really paint! I found out my potentials and my passion for artistic creation. I began to follow this direction which I liked and made do with the schoolwork.\u201d As his painting deviated so much from the traditional techniques taught in the classroom, and the teachers merely followed the traditional standard in grading the works, Hsu Yu-jen had a hard time graduating from the school. The teachers had a poll on his grades. Almost all the teachers in the department of ink-wash painting found his works problematic, while only Mr. Hong Ruilin, a teacher from the department of oil-painting, recognized his talent and made sure that he could finish his degree. After this incident, Hsu Yu-jen did not regret his choice, but followed his \u201crebellious\u201d path firmly. \u201cI Aim to Find an Absolutely Original Style of Ink-Wash Painting\u201d<\/strong> With his concern for the social reality, Hsu Yu-jen began to experiment on different materials and forms, such as sculpture, oil-painting and ink-wash painting, etc. In the recent dozen years, Hsu Yu-jen has been endeavoring on the innovation of the Chinese ink-wash painting. \u201cLook at my ink-wash painting. You can hardly find any predecessor of this style. Although I used the fine lines, they are different from the traditional fine-brush works. I aim to find an absolutely original style of ink-wash painting. It will be totally different from Western paintings as well.\u201d Hsu Yu-jen turned all the \u201cdon\u2019ts\u201d in traditional Chinese ink-wash painting techniques into \u201cdoes\u201d. He made use of these skills and created a distinct style out of them. He returned to the starting point of any painting. Although the ink, paper, inkstand and brush are ancient tools, he does not regard them as ancient elements, but basic and modern ones similar to pencils and pens. Hsu began to adopt dry brushes, short strokes to paint dots and broken lines. The freehand brushwork in traditional Chinese painting was thrown away. Everything in his painting is a combination of dots, lines, and planes. Meanwhile, Hsu Yu-yen is very good at thinking in the reverse way. He overthrew all traditional structures of ink-wash painting, and adopted the horizontal and vertical lines, triangles, and cubes which were discarded in former ink-wash paintings. \u201cIf I go back to the tradition, I will never be able to get out. So I began to paint ink-wash painting in a geometric way. I began by painting out my spiritual world, and later added some other subjects.\u201d The houses that people invented are rectangular, circular, and triangular in shape. The pattern of the waves is triangular. The radial of the sun, moon and stars are straight lines, whereas the trees are shaped in a shallow rectangle\u2026All these are turned in the reverse way. Hsu Yu-jen\u2019s works may be resemble sketches or woodcuts, but it may give the spectators a totally different experience when they study the original works. The small dots in the shape of the paramecium are the smallest units and are integrated in the works by the painter. In terms of perspectives, Hsu Yu-jen does not adopt the Western focal perspective, nor does he use the cavalier perspective in traditional ink-wash paintings. He is more concerned with the abstract relationship between different objects. While he was painting, he would read many pictures and albums and sometimes place some bizarre objects together. These things remind him of the stories that moved him in the past. Within an ink-wash painting, some part takes the perspective from above, some takes the straightforward perspective, some takes the focal perspective, and others takes the perspective from below. Hsu Yu-jen pointed out that blank space can give rise to wonderful perspectives. \u201cI would base all the perspectives on the blank space. There are many perspectives in a painting. I would follow my instinct in drawing and express more with blanks.\u201d Hsu Yu-jen said in self-mockery that he was old now and had to rest every now and then while drawing, as his eyesight was failing. He had a new idea when he watched his painting from a distance in his rest. \u201cMy idea would often change at this time. I started out in a certain direction, but ended up in another. It gives me the feeling of touring around the world.\u201d Hsu Yu-jen said that he felt as if he were shuttling between different spaces when he drew different parts of the same painting. \u201cIt\u2019s like diving in the sea: I dive into the sea from the land and watch the colorful world underneath the water.\u201d Hsu Yu-jen compared the wonderful feeling of creation to diving, with which he is most familiar, as he grew up by the sea. \u201cI wish to draw as if I were playing a game. The space in my painting is fluid and yet discontinuous. I wish to draw with my own characteristics.\u201d The ideas are interpolated in Hsu\u2019s ink-wash paintings. \u201cThere are many original seeds of ink-wash painting in my mind. All I do is sow them and let them grow by themselves.\u201d He pursues simplicity and leaves many things unexpressed. Simple and clean as his paintings are, they are also rich and have a flavor of spatial montage. It is based on this characteristic that different parts of Hsu\u2019s paintings can be magnified and made into separate paintings. Every point in his paintings is a seed and every part is independent. This is truly inspiring. \u201cMy friends told me that my paintings can inspire their ideas.\u201d So is the case with his thought over the number \u201cfour\u201d. The number \u201cfour\u201d has been a taboo in Chinese culture because it is homophonic with \u201cdeath\u201d. Many public places, such as hotels, floors, and car license plates would avoid the number \u201cfour\u201d. \u201cFour\u201d is equal to \u201cdeath\u201d. \u201cI like four, for death connotes life.\u201d You can find four trees or stones in Hsu\u2019s paintings. Four sometimes also represents the painter\u2019s sentiment towards the ecological pollution and the damage that human beings caused. \u201cWhen I brush ink onto a piece of thin silk, the drying process of the ink itself is a dying process. However, the painting comes to life. The completion of a painting marks the end of a creative idea and of the relationship between the painter and his work, but it also marks the beginning of the communication between the painting and the spectators. Chinese people comprehend \u2018four\u2019 as \u2018death\u2019, whereas the Indian scriptures regard \u2018four\u2019 as alive. So life and death are constantly converting to each other. The dichotomy is always dynamic.\u201d Rebel as he seems to tradition, Hsu Yu-jen has a profound insight into the mutual conversion between yin and yang in the traditional Chinese culture. Original Forms Shall Be Connected with the Content<\/strong> However, he does not search for innovative forms for their own sake. \u201cI have worked on ink-wash paintings for many years and experimented many forms. A precondition for an artist to select a form is that it shall express his instinct. That is to say, original forms shall be combined with the instinct. It cannot come out of nothing, but shall be based on reality. We shall not search for forms for their own sake, or we would be chained by the shapes.\u201d The renovation in the forms of fine-brush ink-wash painting is closely related to the reality in China. Hsu Yu-jen grew up in Taiwan. In his childhood, Taiwan was still an agricultural society. \u201cThe farmers would walk barefooted. It was the case when I was a junior high student.\u201d Later when Taiwan was opened up to the outside world, factories were set up everywhere. The agricultural society became industrialized, and pollution also arose in the process. The destruction began in the 1980s. Taiwan faced serious environmental pollution and excessive cultivation. As more and more damage was done to the environment, the coastal areas suffered from more floods and other disasters. The situation was more and more serious and later Taiwan suffered from the 921 earthquake. \u201cWhen I was small, I did not have the feeling of instantaneous destruction of the living space. I worked in U.S. and came back to the countryside in Taiwan. The seashore used to be very clean, but suddenly garbage was everywhere. The environment was changed so much. The almost instantaneous impact on nature is absent in ancient ink-wash paintings, but in modern times, we have to face this problem almost every day. \u201d When he went to college in Taipei, Hsu Yu-jen found the scenery in the ink-wash masterpieces similar with what he saw in childhood. The mountains and rivers in the paintings are elegant with profound charms. Hsu thought that to draw mountains and rivers in the traditional way is actually a process of recollection, as Taiwan has long ceased to be what it was. Taiwan suffers from serious environmental pollution, and so is the case with Mainland China, or even with the world as a whole. This is a question that human beings cannot afford to neglect. Hsu decided at that time that he would draw the contemporary environment and ecological situation with ink-wash painting. \u201cI think that there should not be only one method of ink-wash painting. One of the reasons is that by simply inheriting the traditional ink-wash paintings the painters would be divorced from reality, which is actually a regression. Another reason is that I would have never succeeded if I had chosen the traditional method, as modern painters cannot be compared with their predecessors in the 5000 long years in the ability in handling forms and expression. Ancient Chinese wrote with brushes. They lived in a different natural environment and had different states of mind. I have to find out my own original method.\u201d Hence we find the \u201cview of the mountains and rivers\u201d in Hsu\u2019s original fine-brush ink-wash paintings: bare stone mountains, leaveless trees, water and stones, or waves and sand patterns. Stones are a typical image in Chinese ink-wash paintings. As Taiwan suffered from excessive cultivation and forest exploitation then, the entire mountains were left bare. Hsu did the job of measuring in the past, and is especially concerned with the environment in the mountainous areas. \u201cI remember that I found the entire mountains were changed when I did the measuring.\u201d He collected various documents on the earthquakes, excessive cultivation, and pollution in Taiwan to draw his \u201cpaintings on Chinese mountains and rivers\u201d. The ancient Chinese lived in an agricultural society with the atmosphere of the traditional culture. They read the various classics and scriptures and were immersed in the Confucian, Taoist, and Buddhist ideas. Today China is on its way towards an industrialized society. We also read ancient classics, but the life we live is drastically different. The society nowadays is a multi-dimensional, multi-layered information society integrated with economy, politics and culture. Meanwhile, we are also faced with many practical problems. It is obviously not enough to simply return to the tradition.<\/p>\n\n\n\n Hsu\u2019s paintings are full of reflections over industrialization and death. Though there are no human beings in the painting, traces of human interference can be found in the geometric forms, triangular mountains, rectangular block-like trees, and the triangular wave patterns. The sea enclosed by a cement dam is like a beast in the cage. The treeless triangular mountains are related to the excessive cultivation problem. The four withered trees express the painter\u2019s sorrow at the destruction of the forest. The triangular wave pattern is also related to the dams. It can be said that Hsu Yu-jen created a painting of the site of nature after the industrialized civilization, or the death of nature under the pollution of the industrialized society. Hsu Yu-jen portrayed the post-industrialization site through ink-wash painting and expressed his light, nostalgic sentiments. In contrast to the desolation on the earth, the straight rays emitted from the sun, the moon and the stars are symbols of eternity. These rays bring hope to his paintings. Hsu Yu-jen viewed this issue from the height of the entire universe. The fact that life is transient spurred Hsu Yu-jen to pay attention to images of eternity. The paintings also embody his reflections over the time. Renovation and Inheritance<\/strong> Most people think that Hsu Yu-jen painted his works with fine points. \u201cI actually painted with brushes. Brushes, inkstands, and ink are brilliant inventions of the Chinese people. Western people would not understand our feelings when creating with the traditional drawing tools. Japanese people did a good job in preserving the tradition. They have been using them since Tang dynasty. Nowadays important documents are still written with brush and ink in Japan. There are many ways of handling the brush in Chinese tradition.\u201d Hsu Yu-jen is very passionate towards the traditional ink-wash painting. Although Hsu\u2019s paintings portray a polluted, damaged world, they are clean and simple and the mountains in them are almost semitransparent. Why are his works so clean? Hsu explained that it was difficult to find a clean thing nowadays. \u201cI painted the scenery clean and present a complicated state in an absolute, pure way. I think this is in accordance with the spirit of the blankness in ink-wash painting.\u201d Chinese paintings attach special importance to blanks. \u201cOr the space in Western jargon. What I mean is the ideas about the space, not necessarily the structure of the space. Actually the entire science of ink-wash painting is about nature.\u201d According to Hsu Yu-jen, Chinese paintings can stand repeated appreciation if the spectators are familiar with and feel deeply for the traditional culture of ink-wash painting. Chinese ink-wash paintings are apparently very similar, but they are very refined in details. You may feel different things when you see the painting in your twenties, thirties, and even seventies. It is not like the works nowadays, which are shocking at first sight, and turn bland and flavorless when seen repeatedly. Ink-wash painting is a special branch of human artistic creation. \u201cAmong all the ancient civilizations, only the tradition of the ink-wash paintings in China has never been interrupted. No other art developed in this way in the entire world. Oil paintings in Europe had many forms and did not develop along the same line. In modern times, all the traditions of oil painting were overthrown. Why do so many Chinese painters love portraying stones, mountains, and flowers in the thousands of years? Are they crazy? No. They love painting these objects, as they find many touching, subtle, precious things that modern people cannot comprehend. The paintings are very touching. Emperor Huizong in Song dynasty was good at refined paintings of flowers and birds and at calligraphy as well. We have to absorb the nutrition of the tradition while making innovations. Few took the time to feel the refined details in the paintings. The tradition is old, but it would never die. It has been alive for thousands of years. Isn\u2019t that amazing? Ink-wash paintings contain a lot of traditional philosophy, in which the Taoist view of nature is dominant.\u201d Chinese ink-wash painting was called \u201cpainting and calligraphy\u201d in the past. Ink-wash painting and calligraphy are regarded as belonging to the same discipline. Most ancient Chinese students would learn calligraphy for several years and turn to painting. Most painters are calligraphers as well. Nowadays calligraphy was separated from painting. \u201cPainting and calligraphy\u201d is also closely connected with poems and articles. The two employ symbols and images and complement each other with many philosophical insights. Hsu Yu-jen inherited this tradition and often wrote his poems or articles on his ink-wash paintings. For instance, on an ink-wash painting of the sea, he wrote the following words in his idiosyncratic handwriting, \u201cthe sea flows continuously\u2026nothing but the drifting forms\u2026transient\u2026transient\u2026transient\u2026transient\u2026\u201d It is a beautiful image. His perspective of painting is also differnt. Hsu Yu-jen said that he now approaches the western paintings in a different way. He used to watch western paintings in reference to the aesthetic ideas and theories. Now he would watch them from the perspective and ideas of Chinese painting, especially Chinese ink-wash painting. There are a lot of overlapping between different cultures, though the superficial forms are not the same. However, there are many fixed forms in Chinese ink-wash painting. It is difficult to make major changes within the fixed, sophisticated forms of ink-wash painting. \u201cIt is hard to create something of your own within a fixed form. That\u2019s why we have to break this frame. I cannot boast that I owe a great deal to our tradition. I cannot return to the traditional times. The times changed, and so did I.\u201d Traditional Way of Life in Accordance with Nature<\/strong> Hsu Yu-jen likes dawn and dusk very much. While watching the sky lightened up or dims away, he is fascinated with the elapse of time. The ray in the room would change in accordance with the light in the sky. He also likes seeing things in the dark. This is related to the habit he formed in the environment where he grew up. He seldom turns on the light wherever he lives, be it New York, Taipei or Beijing, except that he has to read or work. He likes to have dinner in the open and said that he could watch the stars while eating. \u201cSuch a natural living state would foster my introspection. I would be stirred emotionally. I try my best not to be bound by artificial values. The values that one accumulates in action is the biggest shatter to mankind.\u201d Most people do not view themselves from the values of the nature. Hsu Yu-jen often wishes to be reincarnated into a tree in his next life. \u201cA tree stands still. It blossoms and bears fruit, and dies as it is. Humans have to die as well.\u201d He always bears such a Taoist philosophy of the nature in his mind, which is integrated into his world of ink-wash paintings. \u201cHumans have to suffer a lot. It is much better to live as a small tree, which grows in the cracks of stones, or as a bird, which can fly everywhere, or even as a stone. The traditional mindset is more resilient and open-minded.\u201d As he likes nature, Hsu Yu-jen built his two studios in a natural environment. One of his studios is located in the back of the Yangmingshan National Reserve. \u201cWhen I painted in the forest, I felt as if I were an ancient Chinese who painted in the cottage in the mountains. I like this house very much. This is a spiritual and spatial connection, a connection to the natural world outside. Man and nature become closely related and can communicate at any moment.\u201d When I asked him whether he would feel isolation when living alone in the mountain, Hsu Yu-jen said that several fellow artists also live there. \u201cI have several friends who can drink with me. I have a really close friend who is a pottery artist. We often drink together.\u201d Hsu likes the feeling of drinking. It is mind-freeing and relaxing and can expose one\u2019s true personality. \u201cWine is a great friend. You have to handle your relation to it, become good friends of it, but you shall not be controlled by it. You would become more active in thinking when you are fully relaxed.\u201d It is said that Hsu Yu-jen drank three times with Gu Long, a well-known Chinese writer. \u201cGu Long is a great intellectual, although he writes swordsmen novels. He is very liberal in character. This is a special character that is bred in the culture of the Yellow River Valley.\u201d Hsu has adhered to the tradition to make friends through wine and tea. Having grown up by the sea, Hsu Yu-jen also likes seashores and islands very much. He found a cement house in Hualian on the eastern coast of Taiwan and made it another studio. The flat, blue, and wide Pacific Ocean is right outside the veranda of the studio. \u201cTaiwan is very small and the skyline is always hindered from view. The skyline here is really open. The western coast of Taiwan has a view of the sea as well, but it is not quite as pretty. The eastern coast is wide and the mountains are steep. The sight of the sea is boundless when I view it in the embrace of the mountains. This is the place where I would stay on the eastern coast of the Pacific Ocean. I like observing the wide ocean and the subtle changes of the seawater: at dawns, the sun rises in the east, and the sea changes within minutes. At dusk, mists arise and the sea is changed every instant. The sea unfolds different scenery at different times within a day and in different seasons.\u201d Hsu spent many years in U.S. He worked as part-timer, marketing executive, and jewelry designer, but he never stopped painting. \u201cWhen no one would by my painting, I would work, save money, and continue painting.\u201d He forged ahead in this way. \u201cI would keep notes and diary while working. I wrote down my thoughts, drew many drafts, and explore new methods of creation. I never stopped such practices. Self-training is really very important, for it is also an accumulative process for painting. Many thoughts would have be lost if I had not jotted them down. Once they were written, they were materialized and accumulated.\u201d Hsu said that many of his creative ideas were \u201cold stuff that resurface on the lake\u201d. While accumulating his experience and thoughts, Hsu also likes instantaneous imagination and thinks that only blind instinct can give rise to art, a typical trait of the Pollux people. \u201cThere are many doors in the world. You have to open them slowly and break them.\u201d Hsu has been improving himself through such reflections and self-trainings. Now his paintings have been collected as precious artistic works by many overseas museums and private owners.<\/p>\n\n\n\n \u201cRecently I am interested in moving the real space to the sky, or the so-called universe.\u201d Perhaps in the near future, we will witness again the outstanding expression of Hsu Yu-jen\u2019s endless imagination on ink-wash painting. \u9ad8\u5049 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In Hsu Yu-jen\u2019s fine-brush ink-wash painting, however, the world is composed of interconnected small dots and extremely fine lines. Furthermore, this world takes […]<\/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-2829","post","type-post","status-publish","format-standard","hentry","category-87"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.hanart.com\/zh\/wp-json\/wp\/v2\/posts\/2829","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=2829"}],"version-history":[{"count":0,"href":"https:\/\/www.hanart.com\/zh\/wp-json\/wp\/v2\/posts\/2829\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.hanart.com\/zh\/wp-json\/wp\/v2\/media?parent=2829"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.hanart.com\/zh\/wp-json\/wp\/v2\/categories?post=2829"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.hanart.com\/zh\/wp-json\/wp\/v2\/tags?post=2829"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Hsu Yu-jen\u2026and his World of Fine-Brush Ink-Wash Painting<\/strong><\/p>\n\n\n\n
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