From June 30th to July 21st, the Pulchri Studio in The Hague hosted a remarkable exhibition: “98 Contemporary Masterpieces from the Chinese National Academy of Painting.” Curated by Herbert-Jan Hiep of the Netherlands and Dr. Xu Lian of China, this exhibition brought a fascinating blend of traditional and contemporary Chinese painting to the Dutch audience.
Under the theme of “Tradition and Innovation,” the exhibition explored the tension between building upon the traditions of the past and adapting to the present. The 100 paintings by 68 artists each offered a unique perspective on this duality. While Chinese painting may initially appear vastly different from Western styles, unexpected parallels emerge upon closer examination. This exhibition provided a deep dive into how Chinese artists navigate the balance between honoring their rich artistic heritage and embracing innovation.
The Exhibition: An Overview
The exhibition itself was a visual feast, showcasing large-scale works ranging from strictly traditional Chinese landscapes to modern interpretations that barely resemble their Chinese origins. Many paintings featured elongated vertical or horizontal formats, a departure from Western norms and a hallmark of Chinese art. This format, a relic of the time when Chinese artworks were rolled and viewed incrementally, offers a distinct viewing experience, inviting the viewer to engage with the work piece by piece. The emphasis is on refined brushwork and the use of space and balance.
Tradition vs. Innovation
The works on display offered a captivating glimpse into how Chinese artists grapple with their rich artistic tradition. Many adhered to classical rules of composition and symbolism, depicting themes like landscapes, flowers, birds, and human figures. Unlike Western culture, these rules continue to play a significant role in contemporary Chinese art. However, the exhibition also featured works that defied these conventions, experimenting with modern techniques like oil paint and screen printing. This resulted in some artworks becoming nearly indistinguishable from Western art.
Many of the exhibiting artists have studied or traveled abroad. An open and inclusive attitude, encouraging learning from different cultures and absorbing new artistic forms and expressions, has led to an increasing influence of Western artistic languages and styles since the 1980s. This allows artists to portray Chinese themes and content with new artistic means, expanding the expressive power of traditional Chinese art forms, particularly the alienation effect. Yet, the search remains focused, especially at the Chinese Academy of Painting, which has as one of its tasks the protection of tradition, on finding a good harmony, without losing the typical Chinese essence.
Craftsmanship
An integral element in all the paintings is the meticulous attention to craftsmanship, a hallmark of Chinese art throughout the centuries, clearly evident in this exhibition. The majority of the exhibited paintings were “ink wash on paper,” akin to a blend of watercolor technique and calligraphy. While Western watercolors rarely exceed a diameter of 80 cm, these paintings were often much larger, easily reaching two meters.
Many of the exhibiting painters have dedicated their lives to practicing and refining their brush techniques, far more than their Western counterparts. This is evident when viewing the paintings up close. A refined mastery is displayed, sometimes with just a few deft brushstrokes or masterful use of ink flow, but often with highly detailed textures.
While appreciating contemporary Western art often requires stepping back from the canvas, Chinese art seems to invite closer inspection to fully appreciate its intricate details.
Context and Explanation
The exhibition provided context through a video and trilingual text panels (Dutch, English, and Chinese) accompanying the paintings, which were grouped thematically. For instance, there were explanations of traditional themes like “Wandering through Mountains and Forests,” a timeless theme cherished by Chinese artists, aiming to glorify the solace and peace of nature, emphasize the harmony between humans and nature, and achieve a state of being where time and space are transcended. Additionally, insights into Chinese painting techniques were offered.
Art as a Bridge
What made this exhibition truly special was its emphasis on exchange. An artist talk preceded the opening, where Dutch and Chinese artists engaged in dialogue about their motivations, educational backgrounds, and the role of tradition in their work. This dialogue revealed that while the artistic traditions of East and West differ significantly, the underlying passion and dedication to the craft are universal.
At the exhibition’s opening, with speakers such as the Ambassador of China to the Netherlands, the intention was expressed to foster more frequent exchanges, including exhibitions and artist-in-residence programs.
Conclusion
The exhibition at Pulchri Studio was not merely a showcase of exceptional contemporary Chinese painting but also an invitation to further dialogue and understanding between cultures. The theme of “Tradition and Innovation” was convincingly explored, demonstrating how art can bridge diverse worlds. The conversations sparked by this exhibition leave a desire for more and promise exciting future collaborations between Dutch and Chinese artists, exhibition organizers and curators.
