Huayuan Art showcases Silk Road murals and Suzhou embroidery at Artexpo NY

13、莫高窟第249窟 阿修罗 西魏 80X60 (沈永平)

Beyond Chinatown (by Andrew Shiue):

You can see treasures from China’s cultural heritage that typically are not seen in museums and galleries at Artexpo New York at Pier 94 along the Hudson River.  Huayuan Art, an offshoot of an organization founded 23 years ago in Gansu, China and devoted to the cultural development of Northwest China brings to the fair elaborate replicas of the Silk Road Buddhist murals and a live demonstration of Suzhou’s silk craft.  Additionally, Huayuan will display other created through specialized craftmanship:  lacquer paintings, Nepali Thangkas, multi-layered paper cuttings and traditional Chinese paintings.

Huayuan will display 29 cave painting replicas based on murals from the famous Mogao Caves and the under-the-tourist-radar but equally exquisite Yulin Caves (榆林窟), and Maijishan Grottoes (麦积山石窟) that were hand-painted by Chinese artists Gao Shan, Shen Yongping, Liu Junqi, and Shi Dunyu.  These caves, with their exquisite wall paintings and sculptures, bear witness to the intense religious, artistic, and cultural exchange that took place along the Silk Road—history’s most famous trade route linking East and West.  The replicas are painted with traditional cave painting techniques, and authentically represent the current state of the caves, without hiding damage and conservation efforts.

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The replicas also show the lacquer painting techniques which are typically associated with Chinese and Japanese lacquerware.   In one highlight, Acolyte Bodhisattva on the North Side of the Buddha, artist Ma Ke uses natural lacquer, along with gold, silver, and other mineral pigments, to portray a standing Bodhisattva statue from the Mogao Caves with an elegant composition and lustrous finish.  With a slight smile playing upon his delicate face, this bodhisattva is one of the most distinctive and oft copied images from the caves.

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In addition to these frescos, other sacred art on view includes Huayuan’s collection of thangkas, Tibetan Buddhist paintings on fabric that depict deities, and mandalas and visually describe a deity’s realm.  Traditionally, thangkas are hung in monasteries or upon family altars, and are carried by lamas in ceremonial processions.  Originally designed to be portable mediums of spiritual communication and guides for visualization of deities, thangkas still hold great spiritual significance with Buddhist practitioners.  The name thangka is derived from thang, the Tibetan word for ‘unfolding’, which indicates the ability to be rolled up as a scroll when not in use, or for transport.  Every piece is hand-painted by Nepali lamas, with natural mineral pigments on fabric, each taking several months of meticulous work to complete.

Finally, Suzhou embroidery, the most celebrated style of Chinese silk art will be showcased through the works and a live demonstration by nationally recognized master artist Wang Lihua.  This art form is one of four main regional styles of Chinese silk art and is renowned for its use of the finest threads, elegant colors, dense stitching, and smooth finishes to create incredible detail and subtle lighting effects on stunningly realistic images reminiscent of oil paintings by the Dutch masters.

Chinese-Australian artist Ah Xian’s porcelain busts fuse artistic traditions

Ah Xian - Porcelain Beautiful Decay (by Hayley Evans):

Ah Xian is a Chinese-Australian artist whose beautiful porcelain busts explore the intersections between artistic tradition, cultural identity, and the body. Sculpting each statue in the likeness of his family members, Ah Xian paints over their dreaming faces with a cobalt blue glaze; tree branches grow across temples, flowers bloom over silent mouths, and necks and shoulders become geographies for mountains and lakes.

Drawing on an enduring fascination for the human form, Ah Xian’s creations exude a sense of mystery and otherworldliness, transcending history as embodiments of a living past: their very “skin” is made of materials used in traditional Chinese craft methods. Ah Xian’s intent, however, is not to show the disjunction between past and present, but rather how such heritages have ongoing relevance and meaning in the present-day world. As he states in an interview with Craft Australia:

When I think about human history and civilization, it always appears to be like a string: one extreme is old time and tradition; current and contemporary is the other. Interestingly, when we turn and join the two extremes together, it forms a perfect circle and creates a new language of art.

This is why I choose traditional materials and hand craft those materials; our ancestors have created and handed down to us such wealthy and brilliant art and culture heritage. Why don’t we use such a rich and meaningful deposit as our resources to develop and create our new art and culture?

When viewing Ah Xian’s work through a contemporary lens, there lies the potential criticism that his busts — like the porcelain vases that preceded them in the nineteenth century — evoke an imperialist form of exoticism; that is, just because they are objects of beauty, they speak to a tradition of cultural appropriation. Ah Xian, however, maintains that no matter what context in which porcelain is crafted, it is always a valuable and admired art form:

“Porcelain is beautiful and meaningful, not necessary just for meeting the exotic appreciation among some of the western people only, but for the whole human society, for every single human being, I believe.” 

Ah Xian is based in Sydney, where he has lived and worked for over two decades.

Check out Craft Australia’s fascinating interview with the artist to learn more about his work.

Ah Xian - Porcelain

Ah Xian - Porcelain

Ah Xian - Porcelain

Ah Xian - Porcelain Ah Xian - Porcelain Ah Xian - Porcelain Ah Xian - Porcelain Ah Xian - Porcelain

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Chinese artists on board missing Malaysian plane

The Art Newspaper:
Veteran calligraphy artists and painters were returning from show in Kuala Lumpur
Chinese artists showing in “The Chinese Dream—Ode to Painting” in Malaysia, 5 March

A group of Chinese artists travelling home after an exhibition in Kuala Lumpur were on the Malaysian Airline flight that has been missing since Saturday. The group included 19 painters and calligraphers whose work was on show in “The Chinese Dream—Ode to Painting”, the South China Morning Post reports. They included the artist and deputy chairman of China’s national calligraphy association, Meng Gaosheng. Some of the artist were accompanied by their wives, such as the 76-year-old painter Liu Rusheng, the People’s Daily reports.

Daniel Liau, the director of the company organising the show, which marked 40 years of diplomatic relations between China and Malaysia, told the Chinese media, “All of these artists are very famous in China. Some of them are national-class artists while others are provincial-level artists.”

Flight MH370 vanished from radar on its way to Beijing after leaving Kuala Lumpur three days ago. Its fate is still unknown.

Check out this link:

Chinese artists on board missing Malaysian plane