Savoring the"Story Behind"

- On the "Research Exhibition of Contemporary Chinese Artists' Manuscripts (I)"

Western scholars have always paid great attention to the research of prominent artists’ manuscripts. For example, in British art historian Gombrich’s essay “Leonardo's Method for Working out Compositions”, he researched profoundly in historical materials and manuscripts, making clear the convincing inferences about the self-created painting composition rule by Leonardo da Vinci, the Renaissance master of painting, which totally differed from old-fashioned rules and inherent conventions from painting studios of the day. In order to catch the imaginative thoughts, Leonardo da Vinci on the one hand advocated to sketch the unusual but wonderful thoughts in mind as soon as possible without considering the accuracy of shape; on the other hand, for inspiring creativity, he also advised artists to arouse association of composition ideas by watching ruins, unextinguished ashes, mottled stones, drifting clouds in the sky and dumped sketches.^[1] And it’s not hard to discover that similar research findings can be found in another essay by Gombrich—“Raphael's Madonna della Sedia”. In this essay, after detailed studies in specific historic materials and manuscripts, he drew a conclusion that Raphael, another Renaissance painting master, had never regarded sketches from nature as the start point of painting creation. His work “Madonna della Sedia” is nothing more than the result of his continuous adjustment or creating with the purpose of emphasizing the extraordinary maternal power by the circular composition. ^[2] In fact, just as Gombrich, there are many western scholars who consider manuscript as a very important part of their studies in certain artists. The reason is 1) manuscript can better reveal the meanings and connotation of certain art works; 2) the way how artists solve different problems and how they effectively inherit the tradition or conduct their creations can be seen through the studies in their manuscript; 3) people can even find the sign of artistic conceptions or expressive techniques transforming in different times by doing specific manuscript research. For many years, under such solid academic background, a large number of high-level research articles and papers have been emerged, and many museums were prompted to hold first-class exhibitions of artists’ manuscript one after another. Thus, manuscript of these splendid artists became well-known as their works. Comparatively speaking, whether the research in famous artists’ manuscript by Chinese scholars, or manuscript exhibitions held by museums are very rare. In our existed habit, regard to studies in artists’ creations, we concentrate more on their works as the result. However, the fact shows that as “the stories behind” or a necessary procedure, manuscript is an indispensable part of academic research. If we can’t do this part well enough, it will be very difficult for us to enter the specific creating context of artists and proceed to master their complete process of thinking. And in that case, it is inevitable for us to leave defects in our researches in art creation and art history. In this respect, Chinese literary researchers definitely have done a greater job. And the reason for us to hold the “Research Exhibition of Contemporary Chinese Artists’ Manuscripts (I)” in celebrating of the 10^th anniversary of Triumph Gallery is to hope that we can make up the missed lessons and promote the manuscript research. If this exhibition could arouse our scholars’ interest in manuscript research of Chinese contemporary artists and encourage more related articles or exhibitions, we will be very happy to see it! But due to the limited space, this time we can only choose ten Chinese contemporary artists to participate in with their manuscripts and there is only an exhibition area of 10 meters’ long for every artist. According to our plan, there will be a similar exhibition annually in the future, and we will invite ten famous Chinese contemporary artists to take part in with their manuscripts. Sincerely hope that our plan could continuously be supported by everyone! Besides, we believe that everyone who understands the course of Chinese contemporary art shall agree to our opinion, which is the ten artists in this exhibition are not only iconic figures in Chinese contemporary art, but also have respectively gained impressive achievements in Chinese contemporary painting, contemporary sculpture, installation art, performance art, imaging art and other aspects. Their manuscripts are worth taking seriously! And taking their manuscripts as objects of studies shall definitely open up a brand new path for Chinese contemporary art research or art history writing. More importantly, it will inspire our peer workers in the field of Chinese contemporary art, and afterwards become what they can take lessons from!

In the western artistic context, the word “manuscript” generally means the drawings, sketches, or relative writings that artists did under certain creation intentions before the final works are finished. Compared with normal art works, though manuscripts have features of improvisation, randomness, subsize, fast-made, etc., but they are with the same value of appreciation, and regardless of what media and techniques are used by the artists.  As far as I know, before the appearance of western modern art, artists’ manuscripts mainly have three basic functions: 1) to present the objective targets, which is to emphasize more on the recording function of manuscript; 2) to present the subjective world, which is to emphasize more on the imaginative function of manuscript; 3) to look into problems, which is to emphasize more on the researching function of manuscript. In particular, the first one focuses on recording visual information in the real world (including form, motion, structure, shading, color, etc.), the common ways of presenting are paints or sketches from nature, and the painting tools include charcoal pencils, pencils, and paper or watercolor, oil painting and other media, and those visionary materials collected for certain creations shall be incorporated into this part; the second one focuses on presenting the subjective world created by the artists, which means all kinds of compositions according to certain conception, including rough drafts that artists draw randomly in the light of the original conceptions, and those compositions, sketches or color proofs after they are continuously modified and deepened. Plenty of research achievements show that this kind of manuscript can mostly reflect the important information in concrete creating process, and present the character and creativity of artists; the third one particularly refers to the individualized studies that aims at specific artistic problems such as “black-and-white relations”, “color relations”, “figure structure”, “perspective relations”, and “story lines”, for instance, German Northern Renaissance artist Albrecht Dürer’s paintings in the first volume of his Four Books on Human Proportion (1513) shall be incorporated into this category. Interestingly, after the appearance of modern art, because it completely transcended the narrative characteristics of traditional art, that is to say the modern art either emphasize more on the expression from the depth of heart, or on the representation of aesthetic ontology, or on the transformation of modern information, therefore, compared to the classic artists, modern artists gradually changed their techniques of approaching manuscripts: 1) because of emphasizing the occasionality and unexpectedness of creation, some artists no longer produce manuscripts—especially some abstractionist such as American artist Jackson Pollock. These artists’ basic compositions, to a great extent, are roughly done in their mind.  In accordance with the psychologists,  their artistic thoughts are dwelled in certain media; 2) because of frequent use of photos, newspapers and periodical publications or other materials by some artists, the way of collecting visual materials from sketches or paintings from nature is evidently reduced, which means the recording function of manuscripts is decreasing; 3) there are very few artists today who still use manuscripts to research on traditional art problems, instead, artists are keen on newly-presented problems. Since the 1960s, after contemporary art came to its viable birth, because of its better emphasis on the expression of conception, in addition to the unprecedented changes of creating methods and media used, thus contemporary artists’ ways of treating manuscripts are further improved on basis of modern artists: 1) after form basic compositions in mind, some artists do not draw sketches beforehand, they would rather directly use specific media to start their creating process. For instance, when creating sculpture “Blind Portraits”, artist Sui Jianguo wrote an implementation plan of five pages at first, then he blindfolded himself and created the “portraits” in its literal meaning directly with clay.  In his words, it is to “let the tactile sense go first”. As a result, the art work became the trace and records of the artist’s “groping about in the dark”.  In the next phase, he would enlarge the bozzetto (clay draft) with new scientific technology on the condition of emphasizing the recapturing of original work, then produce the casting mold, and he would conduct surface treatment and sullcoating after welding the lost-wax casting bronze components. The related pictures and images displayed in this exhibition are not only crucial visual documentations, but also important historic materials in the researches of this art work. He also deemed that, it was because of this creating process, he publicized the “individual traces”, which brought those original works created by “groping about in the dark” to public area from private space; 2) as some modern artists, because of emphasizing the reference of existing photos or visual materials, the recording function of manuscripts for some contemporary artists is distinctly decreasing. For instance, when Fang Lijun was painting his “Series 1, No. 3”, he merely collected the images needed in the painting by sketching from nature, instead, he frequently used photographs. However, for the needs of expression, he did major modifications to the photos. Analyzing from the related manuscripts that Fang provided for the exhibition, we can see several conceives of the composition of this work: to put the yawning bald man before the two young women, or to lie him alongside another young male…yet in the final finished work, Fang put that bald guy in the foreground. In addition, while setting the background as seaside, he also added two young men playing around with arms around each other’s shoulders, that made the leading figure and subject stand out. Through a series of related manuscripts, we can easily see the process that the artist continuously deliberated the theme of painting. According to Fang Lijun’s introduction, he still uses photographs in recent years but merely draws sketches, he mainly does improvisation directly on the canvas. In this sense, comparing this kind of works and relative photographs is an approach of researching with great importance. Nevertheless, this is an approach that requires artists’ active cooperation; 3) just as modern artists, some contemporary artists usually research new conditions and problems in their current creations in the manner of manuscripts. Such as artist Fu Zhongwang, after stopping his studies and remolding of western structuralism sculpture in 1986, which means he stopped producing metal welding sculptures after the manner of David Smith, since he realized that “the bracket system (dou gong) in China was the best three dimensional composition”, as well as found out the differences in cultural and shaping consciousness between Chinese mortise-tenon joint structure and western building structure, he spent a large amount of time in carefully investigating traditional  architectures all over China, and assiduously studied related books; thus, he finally found the contemporary factors contained in the mortise-tenon joint structure, and gradually evolved into his personal basic artistic vocabulary of sculpture. And those related manuscripts that he provided for the exhibition presented his concrete analyze and research in traditional mortise-tenon joint structure, such as “Stone Age’s Frame Mortise-tenon Joint Structure Certified by Archaeological Materials”, “The Ten Corresponding Relations of Mortise-tenon Joint Structure”, “The Corresponding Relations of Stone and Wood Mortise-tenon Joint Structure”, etc that can illustrate the problem. As we can see, some manuscripts not only quote from archaeological materials and folk adages, but also contain his reflections and experience, are the important clues for us to study in his later creations.

In the above paragraphs, we just briefly analyzed the inheritance and development of Chinese contemporary artists from modern artists’ ways of treating manuscripts in three aspects. In the following part, we are going to lay particular emphasis on some contemporary artists’ development on the schematic function of manuscript. Then what is schematic function? Since in some artists’ contemporary art creating process, either installation art, performance art, image art or even production of sculptures, other personnel are required to participate in the process and work as a team. Thus, while related artists are producing their manuscripts, except for clearly presenting the creating intention and effect of performance of their work, they would also make detailed and clear description of specific implementation steps, necessary equipment, technical features, site conditions and other requirements. That is what I’m saying about the “schematic function” of manuscript in contemporary art. To make an impertinent analogy, this kind of manuscript is similar to construction drawing, which is not only convenient for the necessary communication with all the participants in the creating process, but also can ensure the high-quality implementation of the work. To put it briefly, these manuscripts sometimes emphasize on the function of deliberating theme, sometimes emphasize on the function of structure decomposition, and sometimes emphasize on the function of producing illustrations. As far as I am concerned, the manuscript of “Monkeys Grasp for the Moon” provided by artist Xu Bing is with remarkable programmatic or schematic features. For all I know, this work is a permanent exhibit at the Sackler Museum of The Smithsonian Institution in Washington, U. S., and it was specially designed for the winding stairs space which runs through the whole building. Needless to say, this work was transformed from an ancient Chinese fable. In its specific expression, the artist firstly turned the word “monkey” in 21 different languages into images, then hooked them one another with their “strokes” from the celling all the way to the water surface of a fountain pool on the ground floor, just like an uninterrupted line of cursive scripts dropping from the sky. In that case, the artist found a proper way between certain thought and concrete presentation. In consideration of construction convenience, he inclined to use a more cartographic style to present in his manuscript, which is also the reason for that series of working drawings to have such a sense of design. Actually, Fu Zhongwang’s manuscripts of his creations on mortise-tenon joint structure in the exhibition has some similarities with Xu Bing’s manuscripts of “Monkeys Grasp for the Moon”.

I have noticed that in same with emphasis on the schematic function, compared to Xu Bing’s manuscripts of “Monkeys Grasp for the Moon”, the creation manuscripts of artists Wang Guangyi, Song Dong, Yin Xiuzhen and Ma Liuming are with stronger painting nature. Materials showed that Wang Guangyi always uses integrated media for creations in the new millennium, and gradually turned it into his new principle line of creation. But same as the painting creation, he paid great attention on the reapplication of “socialistic experience” ^[3], his manuscript, the second draft of “Thing-In-Themselves”for this exhibition was created in 2011, its schematic effect seems associated with the way of color sketch used by classical masters, however, since the text on this manuscript highlighted the specific implementing requirements, it has the features of “construction drawing”. I assume that the inspiration of this work came from artist’s memories of those large granaries built for the “being prepared against war” policy in the Great Cultural Revolution. Later in 2012, this work was displayed in Beijing’s Today Art Museum with the way of covering the whole wall to the ceiling, which was visually stunning. Actually, it was not only a “monument” of past history that can evoke people’s recollection for the political background of “dig deep tunnels, store food, and prepare for war”; but also a scene with the meaning of “self” and let people explore the unpredictable “riddle of existence” by surpassing the political and economic environment at that time of preparing against war.

The manuscript of “Printing on Water” provided by artist Song Dong is an implementing plan for the performance in the Lhasa River, Tibet, 1996. There are two wooden seals painted on major position of the drawing with sketching style of light and shade: one seal stands while the other lies. On the manuscript, not only are the certain requirements for producing the wooden seals listed, but also, he explained the way of performance and aim of the work. While performing this work, Song Dong seated in the flow of Lhasa River with a great ironwood seal with the Chinese character “Water (Shui)” on it, in the meantime, he continuously sealed on the water flow with devout and religious gesture. As time went by, the surface of water remained as before. So to speak that the seal with character “Water” on stood for the existence of authenticating object and power, while the result that no mark shall be printed on the water proved the nothingness of existence. It was between the repeated proving and interpreting, Song Dong led us to the way of experiencing the true meaning of Zen lies in “Nothingness”.

Female artist Yin Xiuzhen provided us with an manuscript plan of performance work “Washing River”, on the upside of the drawing, there was diagrammatic sketch on waterwheels pumping water in the Funan River, diagrammatic sketch on stacking ice made by water of the Funan River was at the bottom of the drawing, on the right was the writing process and requirements of implementation. The work was performed in 1995, and emphasized highly on the cultural attitude of the necessity of river pollution control. It wisely referred to the daily experience of “washing” and meanwhile involved the public psychological demands on changing the current situation of the Funan River, therefore it reached agreement with the audiences and motivated them to reproduce the meaning according to the work. As far as I know, she also “washed” once in Germany's Rhine. She really wished to wash all the major polluted river around the world one by one, unfortunately there was no sufficient financial funds for her, so she had to drop that plan.

The process of artist Ma Liuming making his name was associated with the work “Fen-Ma Liuming Series” that he has implemented for years. When naming this series, Ma Liuming intentionally added a Chinese character “Fen” with feminine sense before his own name, and while performing, he did a gender-mixed makeup for himself to turn the “Fen-Ma Liuming” into an androgynous third-gender figure. The manuscript work he provided for the exhibition “Fen-Ma Liuming's Lunch II” was obviously done by sketch, on the upper left of the drawing he wrote the implementing steps of the performance, from the perspective of the final implementing procedure on June 12^th 1994, the performance was roughly same as his plan. Since 1996, Ma Liuming performed his art work series “Fen-Ma Liuming in XXX” for cultural exchange in Japan, Netherlands, Canada, U. S., Germany, Switzerland and other countries in succession, which brought him great International reputation. The manuscript of his work “Fen-Ma Liuming in Lisbon” in 2001 was painted in serial fast sketches that designed the performing steps of specific acts. Undoubtedly, the manuscript “Placing Schematic Diagram of Three-dimensional Documents” and the three rough drafts of sculpture work provided by Fang Lijun were also with certain sense of painting, merely the former emphasized more on western sketching style while the latter focused more on traditional line-drawing.

It is well known that artist Zhang Xiaogang persists in conducting artistic expression by oil painting for many years. ^[4]That is because he hopes to express his understanding of history or art history on his own ground, and he thinks that there is no such problem of advanced or backward way of expression in contemporary art’s situation. from this perspective, I feel that if his “A Big Family” series emblematically reflected the formative relations of Chinese family and interpersonal communication in the particular years, then we should say that his creating manuscript of the “Green Wall” series reflected his cultural memories about that particular time with abundantly connotation and totally differed from those traditional indoor scenic paintings! For instance, the draft of “Green Wall: View Outside the Window” he provided for the exhibition contained visual symbols of the particular years such as green walls, tweeters that can be seen everywhere in country side, village office and national flags in front the door, those symbols led audiences with related background to situation of the past, and brought them endless association… According to the WeChat message he sent to me, before creating his works, he usually drew lots of small drafts and then a relatively complete one, but there would be frequent modifications during the process of finishing the work on canvas, and sometimes great modifications. In that case, the drafts he provided was basic complete, actually, before these ones, there were a series of constantly changing and developing drafts. For profound researches, it would be better to have drafts of the whole process for comparison!

Same as Zhang Xiaogang, artist Zhou Chunya also persists in conducting artistic creation by oil painting for all these years. His creating chronology showed that in order to learn the expressional methods of orthodox oil painting, he went to study in Federal Republic of Germany in 1986.  However, the study of neo-expressionism painting caused his re-recognizing and re-learning of traditional Chinese literati painting. After returning to China, he devoted himself to resolving the problem of fusing the painting style, coloring, and composition style of picture in German expressionism with the style of writing and symbolic mode in Chinese literati painting. Practice has proven that from the Stone Drawing series to the Green Dog series, then to the Peach Blossom series, he has done it very successful! And this time there are related drafts of the Green Dog series and the Peach Blossom series in manuscripts he provided for the exhibition, together with some related drafts of his new work “Geyuan Garden” and a draft that has not been put on canvas. According to the artist, his working habit is to work out with the theme and conception at first, then to collect materials by taking photos. Generally, he would draw several drafts on a certain theme, while regular oil painting works are mostly completed on the basis of selected composition and referring to the details of pictures. In my opinion, his manuscripts are actually expressive line drawings that are transformed from three-dimensional digital pictures, and that process is meaningful for him to further transform the line drawings into expressive colorful images. Of course, it would be undoubtedly more helpful if we can do more profound researches with specific works and a series of related manuscripts!

From the initial research on the manuscripts from ten above-mentioned prominent artists, we can not only see the importance of manuscript to academic research, but also find out the beauty of process that manuscripts show. And it is obviously helpful for us to re-discover and re-recognize these artists. We definitely cannot expand the results of case studies on every artist thoroughly in such a review article of this exhibition. In that sense, our work has just started and is still very primary that remains to be expanded in depth. We believe that there are promising prospects for this field, and we hope that everyone can work together on it! 

October 9^th 2017, at United Art Museum, Wuhan

Notes:

[1] E. G. Gombrich, “Leonardo's Method for Working out Compositions”, Focus on the Arts and Humanities: Selected Essays of E. G. Gombrich, Zhejiang Photography Press, Mar. 1989 First Edition, p161.

[2] E. G. Gombrich, “Raphael's Madonna della Sedia”, Focus on the Arts and Humanities: Selected Essays of E. G. Gombrich, Zhejiang Photography Press, Mar. 1989 First Edition, p173.

[3] To my knowledge, on an international scale, there are already some scholars who research on this topic seriously, such as Post-Socialism published by Central Compilation & Translation Press in Aug. 2007, and Retreat from Class: A New "True" Socialism published by Jiangsu People's Publishing House in May 2005 are comprehensively introduced academic achievements in this aspect; another example is Ales Erjavec’s Toward The Image (Jilin People's Press, Feb. 2003), it has a chapter on related problem of artistic creation—there is also introduction of art works of Chinese contemporary artists Wang Guangyi and Yu Youhan.

[4] Although Zhang Xiaogang also did image art in recent years and did it quite well, he pointed out that up to now, he just did it for fun.