Preface to " Paintings by Ma Bole"

When Bole asked me to write this preface, I recalled a statement written by a scholar of the Ming Dynasty. He said, 'We should neither associate with those who have no obsession for they are lack of passion nor those who appear flawless for they do not reveal their true sentiment.'

As a calligrapher and painter, it is not surprising that Bole devotes himself to calligraphy and painting but he also has great interest in collecting books. His collection of books is well-known among the circle of the Suzhou artists.

Bole had an eye operation in this summer. His suffering, which is closely related to his obsession, is imaginable. Since Bole and I have similar interest, I deeply realize his sadness and happiness.

Zhang Dai's discussion about obsession, flaw, passion and true sentiment is marvelous. Actually, passion and true sentiment are elements which artists should embody. In the past, Xu Wenchang was a man filled with passion and at present, Huang Yongyu, who has a very strong personality are good examples.

Similarly, Bole possesses his individual character which is different from Xu and Huang. He is gentle and quiet, implicit and humble, though rather persist and surly. In the late 80's, 'The crisis of Chinese Painting' was the main dialogue throughout the nation. Many artists were influenced by the new trend of westernization or modernization. Even in the ancient city, Suzhuo, the artists were mostly affected. However, Bole remained unruffled and insisted on his own way.

In the trend of regarding art works as commodity, people are unscrupulously in pursuit of fame and gain. People who are following the fashion or taking a shortcut can be found everywhere in the art field. Nevertheless, Bole persists that there is no shortcut in learning painting. In his book, 'Jottings besides the Inkstone' stated, 'One who want to become a successful painter should learn painting step by step and learn how to deal with different kinds of difficulties.' Bole's insistence shows his sincere and lovely qualities.

Zhang Dai once quoted the saying of Emperor Tang Taizong, 'People say that Wei Zheng is stubborn. Personally I have found him rather charming.' Then Zhang Dai elaborated this idea to analyze the painting of Xu Qingteng: 'His work is unconventional and vigorous because of his fantastically strong character.'

Bole and I were both born in Ren Wu (1942). Three hundred years ago, also a year of Ren Wu, born two epoch-making masters, Shi Tao and Wang Yuanqi. They were our idols. Bole is also from the same village (Lili, Wujiang Province) as Liu Yazi who is a poet of South Association (Nan She). I had the opportunity to visit the village thirty-six years ago and was impressed by the spring drizzling scenery. This wonderful realm is the origin of Bole's intelligence and delicate creation.

Bole and I have known each other for nearly thirty years. We meet each other occasionally. Two years ago, when I was editing the album of Gong Xian, I unexpectedly received a collotype printing album leave of Gong Xian which were made in Xuantong (1909-1911) of Qing Dynasty. Since I have looked for this album leave for a long time, I was deeply touched and I thought that, 'He is a friend who truly understand me.'

In the mid 70's, I always travel to Suzhou to see Mr. Wu Yangmu and other artists. I often visited the Yuanxiang Building which was the temporary location of Suzhou Academy. I could remember seeing all the artists painting, except for Bole, who was always working on his calligraphy. Mr. Wu Yangmu comments that his calligraphy is full of strength and is rather similar to the style of Zhang Ruitu of the Ming Dynasty.'

Besides Zhang Ruitu, Bole learned after the style of Ni Yuanlu, Wang Juesi and even masters of Song Dynasty. Finally, he achieves his individual style. In recent years, his painting was done with firm and forceful strokes. He employs his calligraphic brushstrokes into painting and created a unique style for himself.

Chinese poetry, literature, calligraphy and painting are inseparable. For example, it's hard to tell whether Xu Qingteng's poem, calligraphy or painting is the best. Actually, he integrated them together. This is a kind of Chinese tradition which I think Bole will definitely agree with my point of view.

We have already discussed about Bole's character, his obsession and his calligraphy, thus we have a better understanding of his paintings. Essay reflects the character of the writer while painting reflects the quality of the painter. He gave me two of his albums which were published in 1989 and 1999. Ten years ago, he liked to paint figures in simple style. The figures were mainly ancient scholars with square face and long beard who looked alike to Bole's appearance. The subject matters that Bole like to paint are various, including 'Zhuang Zhou's Appreciating Fish', 'Ge Hong's Making Pills of Immortality', 'Yizhi's Appreciating Geese', "Zhang Xu's Wielding His Writing Brush', 'Lu Yu's Making Tea', 'Drunken Li Bai', 'Su Dongpo's Seeking Inspiration', 'Zhuo Dunyi's Appreciating Lotus', 'Seven Scholars of the Bamboo Grove' and 'Drinking Eight Immortals', etc., These persons have been rooted in his heart, which became a kind of cultural symbol and blended with his personality.

Bole's painting techniques benefits considerably from Ling Kai and Ren Yi. His brushstroke is simple and free. He develops his new style from the traditional method of using outer substances to express the innermost spirit and at the end captures both form and spirit.

In recent ten years, he seems to enjoy the combination of landscape and figure in his paintings, figures become smaller whereas landscape become larger. The feeling and ideas of ancient masters' poems occupied the prominent part of his works and he started to paint in such a style when he was young. His present works are sort of 'creation of realm' which has undergone long time alternatives. This 'realm' not only exists in ancient masters' literatures, but also appears in his eyes and the bottom of the heart. This is his ideal and his emotional sustenance.

Bole's paintings in this album changes from simplicity to complexity. He implemented Gong Xian's method to depict the layered mountains and lush jungles which successfully achieves a verdant and gloomy atmosphere.

When discussing about the realm of poetry, Wang Guowei said, 'Constructing realm and sketching scenery are the division of ideality and reality. However, it's quite difficult to separate them. Since the realm which constructed by great poets must correspond to the reality and the scenery should also relate to the ideality.' ['Discussing of Poetry in the World' (Ren Jian Ci Hua)] This argument is also suitable for discussing painting. 'Constructing realm' cannot separate from the nature and its ground is sketching. Bole's solid foundation of sketch which is fully played when constructing his realm.

"Passing the bridge hand in hand, mountains and pavilions can be seen when passing the river.' This is an inscribed sentence applied by Bole. I borrow it for mutual encouragement and to end the preface. When his eye illness is fully recovered, another new sphere will be in front of him.

Xiao Ping
Summer, 2000, Nanjing

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