Non-governmental Strength Non-governmental Art

It might be a little bit abstract to have a conception of a gigantic horizontally-winding painting. It is 2.5 meters by 618. If we convert space into time, it would take us about 4 hours to skim through it. This resplendent and magnificent painting began to be exhibited at the National Museum of Chinese Revolutionary on April 18. It revealed to people how great non-governmental strength could be: the investment comes totally from individuals; the whole work took four years; altogether 400 folk artists participated in its portrait; the painting covers a total area of more than 1500 square meters; and it weighs more than 1000 kilograms. In the face of these astounding figures, I cannot help thinking of another possibility. If it were a governmental behavior, nobody could know how many meetings would have been held, even if only the establishment of item is concerned. Nobody could know how many reports would have been required, how many related units would have been involved, or how many leaders, of either high or low position, would have been "bothered." Nobody could tell how many documents would have been issued within these four years, or how much reconciliation would have been made from top to bottom. Several leaders might have been replaced; yet, it is still possible that the issue has not been through.

This work is called A Grand Sight of Chinese Tibetan Culture, Art and Colored Drawings. As far as its theme is concerned, it might be regarded as a mainstream work of important subject matter. It depicts various aspects of the Tibetan nation, including its history, religion, culture, nation and art, and spans temporally from the beginning of apes' transformation into human beings to the very end of the universe. It touches upon numerous fields, such as the formation of the world, the origin of the Tibetan nation, the Tibetan kings of past dynasties, the fountainheads of every sects of Tibetan Buddhism, science, craftsmanship, medicine, astronomy, poetry, drama, folklore, and the like. It can be said that this painting is a pictorial encyclopaedia of Tibetan culture. In people's eyes, so vast a work should be up to the government, since non-governmental strength is nonetheless limited. But here is such a craftsman called Zongzhelajie. With his effort, he has successfully demonstrated the power of common people.

If only the size of the painting is concerned, it may not carry too much indication. Prior to this work, there have been quite a few large-sized paintings, though not yet larger than this one. What moves people in this painting is that it inherits the tradition of religious painting and folk painting of the Tibetan nation-its fineness and preciseness. More than 300 figures can been seen per square meter where the composition of the picture is the densest. It is a religious spirit that makes this task possible. Another trait of this painting lies in its pigment, which is made up exclusively of natural minerals (such as coral, agate, pearl and gem) and plants (such as saffron, madder and rhubarb.) As a result, the painting is attractively bright-colored. As to its artistic style, it incorporates all genres of Tibetan painting, such as Mantang, Qingzi, Xigang, Gemageze, and so on. And it not only inherits the traditional brushwork, but also assimilates that of the Western painting. Accordingly, it takes on a modern style while preserving its national tradition. 　　　　　　　　　　　　　　　　　　　　　　↓　↑

".com" Is in the Making in the Chinese Circle of Art

Artists have been accustomed to working individually. Few of them know much about the Internet. But the circle of art has been quite vigorous on line. Today, attention economy has gradually come into fashion. Almost overnight, you might see advertisements with ".com" everywhere. Even those aged women who know nothing about high tech are also holding shares of high-technical concept and talking feverishly about the prospective value of "concept." This "concept" has infiltrated every corner of society. Although it is impossible in the Chinese art circles for a ".com" to come into the American market, still, the enterprising myth has allured numerous people to struggle for its slender possibility. In addition, compared with the difficulties in establishing publishing companies or issuing magazines, it is far less effort-taking to manage a ".com." That is the reason why "the enclosure movement" in this field has been going on for a long time before most artists took any notice of it. At present, if you want to register an artistic website in China, it might be difficult to get an appropriate name for it. You come up with one, only to find out that it has already been "enclosed" by others.

Now it is hardly possible to count exactly how many websites are dealing with fine arts. The participants come from all groups of people who are more or less related to fine arts, such as artists' associations, academies, colleges, publishing houses, art galleries, studios and even individuals. In the online world, no matter what you are-governmental departments, companies or civilians-you have to start from the same point-scratch. This is a rare competition of equality. Whoever runs the website well will be rewarded with a high checking rate and a desirable benefit. The so-called "a desirable benefit," however, refers only to the social benefit. As to the economic profit, artistic websites are 100% exchanging notes for notice at present. They are still a long way off from obtaining any material return.

Objectively speaking, despite the fact that the Internet is bustling with activities, excellent websites are not so abundant. Far less websites can retain their old customers. Two reasons may contribute to this situation. On the one hand, its development is limited by the amount of investment; on the other hand, people who are now engaged in this trade do not have adequate basic Internet research skills. Every trade has its advantages and disadvantages. At an on-line exhibition, for example, people have to suffer from the slow speed of downloading pictures. Nor do they have a clear sight of the pictures. At on-line exhibition, therefore, produces a much worse effect compared with that at a real art gallery. Another example is to look for some materials of an artist through the Internet. In this case, it is not at all as convenient as consulting the dictionary. As to an on-line auction, there is no way to guarantee the dependability of the Internet if one wants to decide whether to bid for the works or not according only to the vague pictures on the screen. … Despite these shortcomings of the Internet, its speed of information transportation cannot be equaled by other traditional media. That is where the Internet's strength lies.

The Internet is now a popular thing but we have to bear in mind that it is a common trade as well. It is its very novelty that has elicited great zeal from the public. What people are seeking is nothing but the "concept."

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Chinese National Art Museum on April 28

Three exhibitions were inaugurated on that day. Vehicles, including many high-classed ones, crowded toward the gate of the Chinese National Art Museum. Transportation policemen and plain clothes men were busy directing traffics and evacuating streams of people. One phrase might be appropriate for describing the feelings of the time: mountains of people, surges of people.

This time, Guan Shanyue provided the public with hie "Art Exhibition of Plum Blossom byGuan Shanyue in his late eighties". Considering his status and prestige in the Chinese circle of painting, it was quite natural for such an artist to attract attention from all circles. After the opening ceremony, Liu Dawei, leader of the Chinese Artists' Association, declared that the "Guan Shanyue Art Research Academy" was established. This seminar was the first activity of the "Research Academy."

Mr. Guan was still quite healthy. He didn't seem at all to be in his late 80s. He was so vigorous an artist that he came up with a special-topic exhibition within one year. It was really not a piece of cake for him, said Liu Dawei, to finish so vast a work. Once he lifted his arm over his head when painting, he would suffer from omitis. In this sense, the young should learn from the old in all aspects.

When talking about why he had painted plum blossom, he said that it had its origin in Chairman Mao's poem The Hymn of Plum Blossom. "The new century has arrived. We should be the harbinger of the coming spring;" he said, 'when the wild flowers prosper, she will smile in the cluster. When should we smile, if we don't smile at present? Fifty years have passed since the establishment of our country. Hong Kong and Macao have come back. And it will not be long before Taiwan comes back, too." "Today's being pretty is different from that of the past. They have different purposes. Let's try to be pretty. Let's smile as brightly as plum blossoms." At the seminar, many people aired their views upon the ink-and-brush issue in Mr. Guan Shanyue's paintings. Some controversies were naturally brought to discussion.

Another exhibition opened on the same day. It was ' The Pleasure in Calligraphy at the Leisure of Moviedom'-Wang Tiecheng's exhibition of calligraphy." The host of the exhibition was Wang Tiecheng-the actor who became well known for acting the part of the former premier, Zhou Enlai. Despite its awkward-sounding name, its exhibition hall was terribly crowded. Many movie stars came to applaud their craft brother. People from all walks of life also came to worship their idol. People were all in a sweat before they could enter the exhibition hall. The story goes that Wang Tiecheng's popularity is pretty strong. Yet it is a pity that we have not seen his "calligraphy;" instead, it has provided people with a good opportunity to experience what the "star effect" is. The Chinese circle of fine arts is really fortunate. There are always so many stars who are willing to lend a helping hand on such occasions. Comparatively, Hollywood stars seem not so generous. And if you wave a club among Chinese celebrities in the circle of entertainment, at least ten would be knocked down who are amateurs in calligraphy or painting.

On the second floor opened "To Meet the New Century" Gongbi Painting1 Exhibition." It was obviously not as exciting as its counterpart downstairs. Many unknown painters made their appearance at that exhibition. Their performances were quite satisfactory, and gave a new look to Gongbi painting. After dinner, the organizer of this exhibition led a group of painters and theorists to Qing Huangdao.

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Is It Right to Buy the Cultural Relics of the Garden of Gardens?

On May 1, the whole country began to enjoy a long holiday. People immersed themselves in the scarcely available leisure time. On that very day, however, our patriotic Hong Kong brethren had anything but leisure. Outside the Sufubi and Jiashide auction hall in Hong Kong, they spontaneously held a protest movement against the auction of the four cultural relics of the Garden of Gardens. Before the auction was carried out, the Chinese Ministry of Foreign Affairs had made a definite declaration on this matter. It pointed out that these cultural relics of the Garden of Gardens had been robbed away by the Eight-power-allied Army. It would hurt Chinese people's feelings if they auctioned these relics in Hong Kong. Many media in Hong Kong also published articles, expressing the same attitude. Hong Kong has returned to China. If Sufubi and Jiashide still want to continue their business here, it seems that they should respect what the Chinese feel. The request for stopping the auction was quite reasonable.

Despite all of these, the auction opened as scheduled. The result was somehow beyond expectation. Baoli Company of Beijing got Cattle Head and Monkey Head with 1600 Hong Kong yuan, and then Tiger Head with more than 1500 Hong Kong yuan. Mr. X is the artistic advisor of the company. When interviewed by Hong Kong Phoenix Satellite Television Station, he said that as a nation-owned company, Baoli's primary concern was the national interest. By his account, Baoli's participation in this auction had been intended for a patriotic education. These works could help the later generations bear in mind our national humility.

To some extent, Baoli's deed is patriotic. If viewed otherwise, however, there is something inappropriate in Baoli's action. Firstly, since the Ministry of Foreign Affairs had declared these cultural relics to be plundered ones, they should be classified as spoils. According to international contracts, they should be returned to China. It is true that Sufubi and Jiashide has refused to return them to China. But it doesn't mean that these cultural relics would not come back to China in the future. According to Chinese law, it is illegal to sell or buy spoils. In this sense, Baoli's deed is rather questionable.

Secondly, outside the auction hall, it was Chinese people who were protesting with signs against the auction; inside the auction hall, it was again Chinese people who were bidding with signs. Has Baoli ever thought that their deed might also hurt their countrymen's feelings?

Thirdly, China, especially Beijing, does not want material objects for patriotic education. If you hope for the later generation to bear in mind our national humility, you may as well bring them to the Garden of Gardens. It would be far more effective than to look at Cattle Head, Monkey Head or Tiger Head.

Fourthly, these three works do not have much artistic value. They are not worth the 30,000,000 Hong Kong yuan at all. What Baoli already has in his possession excels them a lot. (The Imperial Palace once spent more than 10,000,000 on a painting of the Song Dynasty with Zhang Xian's signature. That is because it was the one painting of this painter.) A nation-owned company should take national interest into consideration. What is the national interest then, when so large amount of money does not pay?

Fifthly, cultural relics of the Garden of Gardens abound in many of the eight allied countries. Among the twelve animals symbolizing the years when a person was born, still nine pieces are not in our hands. Today they produced today several pieces to sell, and Baoli was determined to get them, even at a high price. Several years later, they will produce several others. Will Baoli bid for them? Will Baoli continue to "be patriotic?" When Baoli bid up the price of this group of relics, it has at the same time set a snare for itself.

1. Gongbi Painting: traditional Chinese realistic painting characterised by fine brushwork and close attention to detail.
2. Eight-power-allied Army: aggressive troops sent by Britain, the United States, German, France, Russia, Japan, Italy and Austria in 1900 to suppress the Anti-imperialist Yihetuan Movement of Chinese People.