Le Sang : Mythes, symboles et réalités (Nouvelles Etudes Historiques) (French Edition)
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Certainement pas au travers des autres. Pour vivre, il doit manger, et pour manger, il doit travailler. Commandes publiques. Des nuances de gris et noir semblent trop banales. In his works of art, Gao Xingjian, the exile and winner of the Nobel price for literature, who was forced to leave China in , turns to the most traditional of all Chinese pictorial techniques, Chinese ink on rice paper.
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Because of this, we recognize the great quality and the knowledge of tradition that is present in Chinese art and that resonates in the classical ink painting, like a double bottom, like substantial spiritual matter on which new art originates and develops. His mental range appears in his artistic creations as a sphere of perpetual approximation to what is possible: The possible is not clearly defined but re-establishes itself during the act of painting and reflection.
The limits are usually not predictable but if they are, it is the mind and not the spiritual range itself that determines them.
They are a state of passage through which the viewer may wander, for as long as his spirit leads him. They occasionally allude to the horizon, the sky and the earth. The use of water liquefies the ink, and prevents clear contours from forming. Everything is in motion, in permanent transformation. It only appears partially when small lines or dots are placed to represent trees, stones or columns. All the landscapes are more like internal works, like an ideal landscape: large, free, untouched and in perpetual creation. In his paintings nothing is final. They breathe and are like living organisms.
Their meaning can only be approached, but the paintings can never be fully understood. Letting the colours flow into each other, creating only nuances from black to grey to almost white, an osmotic relation between colour and paper establishes, with only a little help from the artist, an independent space. The colour itself fills this space, without determining it. The act of painting is the door to the implied spiritual cosmos which is limited by time and space.
Le Sang: Mythes, Symboles Et Realites (French Edition)
The emptiness can be interpreted as an active Space, a pendant, a provoker of tension, giving the paintings a feeling of freedom and spaciousness. All this can not be interpreted without the Zen-tradition and its spiritual message. I see art less as a self expression but more as an act of self cleansing — with more or less sober eyes, which look at the continuously changing world and to a great extent, to the incoherent self.
It may be right to consequentially claim that the work is only the means to the goal. The creative force needed by all people lies in the ability to penetrate a different reality and in the ability to feel an unknown mental force of creation.