Shou: An Introduction
I met Tang Guo for the first time in Nanjing in 1993. At that time I was a
student of the local University, Nanjing Daxue, longing to meet Chinese
intellectuals. I was immediately impressed by Tang Guo because of his great
charm and his attachment for his own culture, in a moment the 90's, when the
most part of Chinese intellectuals strongly was attracted for the West,
neglecting their own roots. I remember Tan Guo's home full of archeological
finds, dug by himself during long excursions in the countryside, and furnished
with the old style mandarin taste, very far from today's fashion. China was
changing and an intelligent artist as Tang Guo couldn't reject what was
happening in front of his eyes, I wasn't surprised then when some years later I
found on the web some recent Tang Guo's works, quite different compared to the
ones I already knew and yet with some elements of continuity.
Tang Guo was born in 1955 in Nanjing, a city with deep traditional roots. After
two years spent in the countryside during the Cultural Revolution, he first
joined the Group of the New Literati, distinguished by traditional subjects and
techniques, then evolved towards an abstract aesthetics that can interpret the
age of upheaval Chinese society is living in. Shou, the title of this
exhibition, comes just from this to emphasize the longevity of the famous
Oriental cultural tradition, fit to develop without neglecting itself. Patrizia
Chignoli has been matching these paintings with Far East Precious antiques, all
chosen with great professionalism and sensibility. This unusual and interesting
exhibition give us stimulating elements to understand more deeply Asiatic
culture.
For the firs time in twenty years Patrizia Chignoli starts dealing with
contemporary art of China after having explored enthusiastically numerous
aspects of antique art. This enlargement of the perspective is due in part to
the great stimulus of the present and lively Chinese culture but specially to
Tang Guo's paintings, rare examples of captivating formal expression and
intrinsic intellectual content.
In this introduction I will try to suggest possible ways to interpret Tang Guo's
art, drawing attention to some interesting peculiarities.
Chinese traditionalism in art has often been thought as a manifestation of
inertia and resistance to changes. But in many ways the impulse to take
possession of history, the most creative positive aspects of this impulse,
doesn't mean just a return to the past but actually the opposite it is a
strategy to support a change.
China's artists in 20th century were influenced considerably by the rediscovery
of the Buddhist cave paintings at Dunhuang in Gansu province, China. Dunhuang
has been an important oasis in the Gobidesert along the Silk Roas from the West,
which linked China to India and Persia as well as to the civilization of the
Mediterranean, but it was long abandoned and forgotten in the desert sands.
Caravan traffic had ceased at some time in the fourteenth century, but from the
fourth until the thirteenth century, travelers desiring some insurance in this
life or the next had richly patronized the Buddhist community at Dunhuang,
ordering the making of frescos and statues. In 1942 Zhang Daqian, a painter in
the traditional style, led a small group from Chongqing to copy sections of the
fabulous cave paintings. Western explorers had also made records, through
drawings and photographs. The response was enthusiastic. The Dunhuang copies
provided new sources as an alternative to traditional ink panting. Tang Guo
makes modernity and cultural identity the starting point for his artistic
activity. An extraor dinary quality blane de Chine budai, early Kangxi
(1662-1711), has been marching with a painting titled Posthumous Dunhuang works
2. The painting at the centre presents the scene of a Literate and a lady in the
countryside, all around golden leaves of irregular shape and sheets of antique
literature: from a brown background emerges the calligraphy by Tang Guo,
characterized by a concise strokes. The composition presents at the four sides
floral motif, lively lotus in black ink, similar to the one used on the most
beautiful porcelain of the past centuries.
Another painting inspired by Dunhuang caves has been matching with a marvellous
horse. Tang (618-906 AD) modelled standing and glazed predominantly in chestnut
with a cream-coloured glaze running from the poll to the muzzle. The horse was a
very important animal at the time when Dunhuang was a lively trade centre an was
often painted in the caves.
The series of paintings titled Secret Chinese Character are based on
calligraphy, a particular art which can give the artist good opportunities to
reach new abstract artistic vision. One of these paintings presents along and
narrow sheets of paper of auhergine colour and fragments of old books on a white
background: above all this, the painter has "written" Chinese
characters, as abstract movements in the space with strokes similar to the speed
of the dance. At the bottom, at the centre and at the base, golden leaves.
Typically Asiatic, calligraphy (Shu) was part of the education of the Literato,
together with painting (Hua), music (Qin), chess (Qi). It is regarded as the
most abstract and sublime of the arts and the easiest to show artist's soul and
personality. During the imperial age, calligraphy was a way to select the best
mandarins. It is different from the other form of art because in calligraphy
every stroke is uncorrectable and permanent: the calligrapher has to pay a great
attention to the preparation and the execution, concentrating specially on ink,
paper capability of absorbing and flexibility of brush.
The Chinese regard calligraphy in cosmological terms: the empty page represents
the universe before the creation; the first stroke represents the first form of
life born thanks to the marriage of ink and brush, yin and yang; every more
stroke creates more relations between yin and yang, all in the Harmonious of the
Whole that's Tao.
Tang Guo doesn't represent the world in a realistic way. He takes possession of
the Chinese character which already exist and use them going beyond their
literal meaning and recreating the natural forces of life, to reach a new
expressive language.
Besides the memory of Dunhuang and calligraphy, Tang Guo's paintings often
present a colour that made the history of China: red. Even in prehistoric times,
red seems to have been regarded as a "life-giving" colour: evidence
from burial sites suggests that cinnabar or red chalk was buried along with the
bodies. Red is the colour of the Summer, of the South and also of the ancient
realm of Zhou (1050-256BC). This ancient stratum of popular belief is not
exhausted yet - cf. the presentation of communism as the rule of the Reds (Feng
You-lan )and of Red Guards as the shock-troops of revolution unrest. The
faithful in temples used to tie a red rope around the neck of the gods. The Red
Evebrows were a group of rebels in the 1st century AD who painted their eyebrows
with an indelible red so that they could not desert their cause. Red is also the
colour of richness and love (in many novels we read that a girl is as red as a
peach blossom and ripe for love.)
A sang du boeuf glazed vase of superb quality with two Laotie mask handles
suspending fixed rings at the shoulders has been matching with a painting titled
Red Mark that's a calligraphy on a blood red background with golden leaves a old
books sheets. The painting is extraordinary for the colour, a powerful red that
seems to come close to the public and for the golden leaves, real point of
light.
A constant subject of Chinese paintings is the landscape. A painting titled
Plant 1 shows us how Tang Guo interprets nature: at the centre sections of
vases, flowers and little plants, maybe bonsai, all between small golden leaves
and a curved sign, similar to the sinuosity of a plant. The background is a soft
earth colour. A spinach jade baluster vase and cover carved all around the body
with flowers, birds and buds has been matching with this painting. Two different
ways equally wonderful to interpret nature: the painting presents an essential
and subtle style that gives the opportunity to enlarge imagination limits with a
special attention to the naturalistic details.
I'd like finally to mention the paper of these paintings: Tang Guo made it by
himself according to antique process rules, as he himself tells us in the
interview hereinafter.
Cristina Filippi