Martin Heidegger, the German philosopher (1889—1976), is also known as a major character in promoting a modern theory "Occurrence and Concealing", which opposes to aesthetical traditions. Heidegger said that Beauty is the "shining forth" for the "self-concealing being" in the work, and beauty is one way in which truth occurs. Thus to know is to see what is present as such, in its "unconcealed" nature, but to uncover the being which is hidden. Heidegger has influenced many artistic explorations deeply including mine and Mr. Li’s. So Mr. Li is trying to uncover the concealing being, i.e. the truth of art.
In fact, our ancestors were not conservative in creating new forms of Ink art. They experimented boldly. According to history, Mi Fu, a famous calligrapher and painter in North Song Dynasty (960 AD.－1127AD.), used paper strip, bagasse and lotus seed pot instead of brush to paint. Another rumor says after painting on silk, he washed the silk to get sketch of landscape. His son, Mi Youren, also a famous painter, held Ink in old and shabby papers to paint. Those bold trials created a new liberal style of painting, and used to bring Ink art to a new horizon. Yet painters stopped exploring in materials in South Song Dynasty (1127 AD.－1279 AD.) due to the influence of Confucianism. Wang Qia, alias Wang Mo, a legendry painter in Tang Dynasty (618 AD.－907 AD.), dipped his hair in Ink to paint. He was good at splash-ink painting and spent most of his time wandering around all corners of the country. He was a vagabond and loved drinking. He painted high-spiritedly after drinking. Legend tells that he would first splash Ink on canvas or paper, then rub, wipe, and stumble on it. Magically images of mountain, rocks, waters or trees turned out. No filthy mark was left as if the paintings were washed by clouds and rains, but unfortunately none of his works is handed down.
Not fettered by tradition, Mr. Li let Ink and Water dissolve and perform freely. His expression of spirits elevates Ink art. Western art defines abstractions as "absolute modeling", while "relative modeling" is to imitate a subject. I believe that abstract Ink can serve as a language expressing thoughts. When immaterialized and purified, it will represent truth, harmony between man and nature.
The color of Ink is abstraction of all colors, and it accords with Taoist’s plainness and simplicity. The art aims to turn to inner world to find truth, which is in the interest of Daoism. By mixing ice or water with Ink, Mr. Li lays it to melt on its carrier. It’s not a game he’s playing. What he is expressing is the “Spirit of Ink”, the value of extreme clarity in a unique way of creating.
Benedictus Spinoza, a Dutch philosopher, says all provisions are negative. Chinese Ink art is currently facing a true revolution, I believe traditional definitions, patterns, techniques and words will be renewed. Ink art has got to evolve. It will become conceptual and philosophical rather than reproducing a substance or reality. As society is informationized, Ink art must keep up its pace with the time and satisfy audience visually and spiritually. It will unfold man’s spirit, sensation, ideology, understanding and imagination, and let the others get the true meaning of art. I wish Mr. Li and his new Ink art a brilliant future.
Oct. 2010 Beijing
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