To Develop in Tolerance

By Li Yi
(Deputy editor of Art Observation)

There is little sense in discussing whether traditional Chinese painting has its baseline. At least, it is not so urgent an issue at present. Only when one has been utterly routed will one struggle to defend the baseline; only when it is impossible to make any further advancement will one consider to which point one could retreat. In reality, however, traditional Chinese painting is far from being utterly defeated. Nor has it no way out. On the contrary, presently, traditional Chinese painting is moving forward on a road of diversification. After a century's struggle, people have come to realize that Chinese should engage openly in traditional Chinese painting, and that traditional Chinese painting can progress even-temperedly and by easy stages. At the turn of the century, Chinese artists' horizon gets broadened. They are better informed than ever on this shrinking earth. Classic, modern and postmodern-none of these branches have our artists not seen. Since we Chinese can freely study and develop the painting originated by foreigners, why not develop as well the painting fathered by our own nation? Once people get wise to this point, they no longer lose their bearings. In effect, many painters who engage in traditional Chinese painting are not so preoccupied with preserving the baseline. Nor do they take notice of the claim that "ink and brush is of no significance." What they are concerned about is how traditional Chinese painting could push forward on a road carved out by their predecessors, and how they could further develop it based on their predecessors' accomplishment. If we respect history, we may see that since its birth, the so-called "traditional Chinese painting" has not stayed static. It never ceases development; and its vocabulary never ceases expansion. To put it more generally, it is the perpetual tolerance that enables Chinese art to grow and innovate. Compared with their counterparts in other times, today's artists have more opportunities to receive, to study, to draw lessons and to select. Accordingly, they should experience a more rapid progress than ever. It is more necessary, therefore, to encourage a tolerant spirit in them. Chinese artists should have the generosity to embrace both the past and the present, and to tolerate both the Chinese and the Western. Sea becomes sea only after it accepts all branches of river. Tolerance makes vastness. They are expected to further enhance the culture and time character of traditional Chinese painting so that it may become at the turn of the century a representative of Chinese contemporary culture. In order to accomplish this, Chinese are to choose a road and an artistic vocabulary that is suitable for their own development. Tolerance facilitates selection. If there does exist any pressing issue about traditional Chinese painting, it is the inadequacy of tolerance and choosing. Its practicers have not tried their best to develop its time character, culture trait and artistic individuality. The problem is anything but the so-called "preservation of the baseline."