Conflicts and Confrontations: The Journey of China’s Contemporary Chinese Ink Paintings

Abstract

In October 2010, the University of Chicago celebrated the opening of the University of Chicago Center in Beijing by convening an international symposium on “Contemporary Chinese Ink Painting and the History of Art,” a symposium that discussed issues, questions, and expectations about Chinese ink painting from a variety of perspectives. Because the word “contemporary” was placed first for emphasis, Chinese ink painting evinced new cultural meanings and possibilities that elicited interest from both domestic and foreign scholars as they proceeded with their discussions. What kind of art theories and historical discourses should scholars of various cultural backgrounds rely on when they discuss the issue of Chinese ink painting? In particular, what types of Chinese ink painting practices should they consider? The latter question in particular became the basis for discussions at the symposium. If there were no actual, meaningful Chinese ink painting practices, and if we were to rely solely on theoretical models to guide descriptions and demonstrations, then this would be inadequate for fully explaining the issues involved. Only on the basis of current practices of Chinese ink painters can we master a reinterpretation of today’s cultural perspectives and theories. Only then will it be possible to imagine how the development of Chinese ink-wash painting takes place and the kind of cultural relationship that this process has with the whole of contemporary society. After we have accomplished this, it will finally be possible to reveal historical truths about the Chinese ink painting process.