 ines are the original form of visual art and an effective method to describe the outer boundary of images. During the early days of human civilization, all lines were the result of using various instruments. Thus, lines became the most communicative language of the visual arts in human beings.
This is the subject of an upcoming exhibition in Shanghai at Suhe Gallery at 423 Guanfu Road.
In the history of art, lines occupy a unique and irreplaceable aesthetic position all over the world. During the Ancient Egyptian, Babylonian and Mayan civilizations, lines were precise and holy; In Ancient Greece, lines were used as the perfect diagram of the golden section; In the days of the Renaissance, Leonardo da Vinci and Albert Durer composed grand masterpieces concerning realistic writing and narrative stories in the rhyme of lines; Lines were translated into soft poems in the tender, peaceful and classical style of Ingres; Klimt and Egon Schiele, the representatives of Vienna Secession, developed the flexibility and convulsive feeling of lines to the extreme. Absolute order of universe was composed in the harsh lines of Mondrian. Paul Klee made his lines appear to ramble in his works; Pollock sprinkled his lines spontaneously; in the paintings of Willem de Kooning, sometimes, the lines were frantic, sometimes, they were elegant... Lines can be figurative, or abstract.
Lines are the most important language in Chinese traditional painting. Compared to the Western tradition of painting, which has emphasizes the mastery of light and shadow, perspective and rationality, Chinese style lines put more emphasis on the conveyance of Eastern sensibility. The ways to draw lines have gone through numerous transformations in the history of Chinese ancient painting, as generalized in “Eighteen outlines”① and “Cun Fa”② and some other classical styles in portrait and landscape painting. In addition, due to the special heritage of the same resource of painting and calligraphy, the Chinese line style has an inmate relationship with the strokes used in calligraphy. Ancient Chinese painters underwent strict calligraphy training in the process of growing up, laying down a solid foundation in which to convey their flexible visual expression of lines.
Lines are also the most basic language of contemporary Chinese abstract art. Among Chinese abstract artists, many are well-versed when it comes to painting and drawing lines. Many artists connect lines (the most basic composition language), with personal rational and perceptual thinking. Nowadays, this ancient vocabulary refreshes its spirit in this new century and radiates limitless energy; Furthermore, it has gradually revealed a strong national spirit. In this exhibition, visitors could appreciate the outstanding creativity and profound culture connotations expressed inside the works created by the artists.
The artists involved are listed as follows:
Beijing: Chen Guangwu, Xu Hongming, Wang Chuan, Sun Kai, Liu Xuguang, Xu Ruotao
Shanghai: Shen Fan, Qin Yifeng, Huang Yuanqing, Li Lei, Qu Fengguo, Wang Yuan
Hangzhou: Shi Hui, Zhang Hao
Tianjin: Qi Haiping, Zhang Yu
Shenzhen: Liang Quan
Shenyang: Yin Ge
Germany: Chen Ruobing
Li Lei, “Natural gray02”, 2007, Acylic on canvas, 150×100cm
Liu Xuguang, “Ink--- line”, partial of the picture 011
Sun Kai, “Ink Water”, Paper, linen
Yi Ge, “M-010”, 2006, Acylic on canvas, 250×190cm
Zhang Hao, “Endless Spiritual travel ”, 2007, Ink on paper, 183×146cm
Xu Hongming, “Construction of White Squares” （computerized）, 2004, 150×150cm
Xu Ruotao, “Little Black Spots”, 2007, Oil on canvas, 180×123cm
Shi Hui, “Wind”, Mixed media
Qu Fengguo, “33”, 2007, Acylic on canvas, 180×315cm
Wang Yuan, “Wan Sheng Garden No.1”, 2007, Oil on canvas, Lenth 90cm
Qi Haiping, “Spread”, 2007, Acylic on canvas, 200×190cm
Qin Yifeng, “Lines" 537”, 2005, Acylic on linen, 110×90cm
Chen Ruobing, “0738”, 2007, Acylic on canvas, 150×150cm
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