Solemnity and Romance in Chinese Traditional Aesthetics

Review on He Jingtian's Chinese Paintings Collection Joanne Tang June 15, 2020

DALLAS - As one of the traditional skills of Chinese painting, Gongbi painting (also known as “court painting” or “meticulous painting”) originated from silk painting during the Warring States Period. This painting style pays attention to the neat and meticulous brushwork and can be divided into three main categories depending on the painting objects: landscapes, flowers and birds, and human figures. Meticulous painting of flowers and birds often emphasizes the precision of silhouette with rich and skillful color placement. Unlike the fineness of meticulous brushwork, Xieyi painting (also known as “interpretive painting”) incorporates poetry, calligraphy and printing, emphasizing the use of ink to accentuate the conception of natural scene and personal emotions of the painter. Xu Xi, one of the representative painters of the Southern Tang Dynasty of the Five Dynasties, invented what is now called the “boneless painting method,” through which one can directly dye the shape and charm of his painting objects without tracing their silhouette to portrait their exquisiteness, freshness and elegance.

Mr. He Jingtian applies those technique in his traditional flower and bird works effortlessly. The majority of his paintings focus on the various states of lotus to express his perceptions of the nature and human life. The characteristics of his paintings range widely from being precise and meticulous, as shown in “The Three Realms of Flames and Flames Gathering” and “Flower Sees the Buddha,” to being liberal and spontaneous, as portraited in “Fo Guang Pu Zhao (Golden Lotus)” and “Fo Guang Pu Zhao Ping An Shi Fu.” In his lotus paintings, Mr. He combines a diverse set of traditional painting technique including water

and ink painting, water coloring, expressive brush painting, and boneless meticulous painting. His painting styles are constantly changing in between Gongbi and Xieyi with great versatility and creative freedom. The coloring of his lotus is beautiful and subtle, but in the meantime, modest and romantic.

“Fo Guang Pu Zhao Ping An Shi Fu” (2011), ink and colors on paper (image courtesy of artist)

“Yi Hua Yi Shi Jie, Yi Ye Yi Ru Lai’ (2013), ink and colors on paper (image courtesy of artist)

As one of the masterpieces created by Mr. He, "The Diamond Sutra – Majestic Pure Land" vividly outlines the pure and elegant state of lotuses with only a few touches of light ink, scattering in the presence of silence. The bodies of lotus are surrounded by thick brushstrokes of dark green and black ink, creating depth perception and blurring the distance between the viewers and the objects. The different shades of colors not only add a hazy atmosphere to the entire painting but also allow the viewers to immerse themselves in the painting as if they were standing by the lotus pond with their breaths hold, fearing to disrupt this moment of tranquility.

“The Diamond Sutra – Majestic Pure Land” (2012), ink and colors on paper (image courtesy of artist)

The placement of color and depth of field in "The Diamond Sutra – Majestic Pure Land" coincides with the depiction of light and shadow and the perception of space as found in many Western Impressionist’s paintings, such as Claude Monet’s works of water lily. However, compared to the ultimate pursuit of Western aesthetics to reflect the realistic world, "The Diamond Sutra – Majestic Pure Land" focuses more on the emotions and perceptions of the artist under the influence of “外师造化，中得心源,” a value that is emphasized in Chinese traditional aesthetics, meaning in artistic creation, one needs to draw inspiration from both the external nature and his internal thoughts. Chinese traditional aesthetics pay great attention to the artist's expression of his own emotions beyond the depiction of nature in order to achieve the unity of the subjective and objective world as well as the spirit of man and the form of nature.

“Fo Guang Pu Zhao (Golden Lotus)” (2010) ink and colors on paper (image courtesy of artist)

In addition to developing the harmonious integration of and transition between Gongbi and Xieyi brushwork, Mr. He Jingtian also emphasizes the inseparable connection between Chinese calligraphy and Chinese traditional ink painting in his works. In "The Diamond Sutra – Majestic Pure Land," he quotes the Majestic Pure Land, a section from The Diamond Sutra in calligraphy, in reference to the Buddha's reminder to the Bodhisattva - one should not have the heart of joy in the gaining of Dharma as it is the fundamental law of objective existence in the nature of life. The calligraphy and the lotuses as the painting object echoes with each other, further examining the artist’s own understanding of Buddhism and his pursuit of life. Distinctive from "Fu Guang Pu Zhao,” where a sense of great joyfulness can be perceived immediately through the intense gold and pink coloring of lotuses, " The Diamond Sutra – Majestic Pure Land " allows us to take a closer look at the artist’s heart and discover his internal peace and Zenness through a simpler brushwork.

As Eastern and Western aesthetic cultures continue to communicate and exchange, Mr. He Jingtian’s paintings stand on the co-existence of both form and perception, as pursued in Chinese traditional ink works, while adding a deeper meaning to today’s Chinese aesthetics by expressing his unique views of the current world. Enthusiastic yet restrained, simple yet affectionate, these might also be the tenderness and romance at the core of Chinese people and their traditional aesthetics.

“Feng Dong He Hua Shui Dian Xiang” (2000), ink and colors on paper (image courtesy of artist)

Artist Profile

Mr. He Jingtian, professor, co-founder of Guangzhou Today Art Creation Research Institute, director of Guangdong Art Industry Association, art judge of Guangdong Southern Painting Academy, member of Guangdong Artists Association, and consultant of Guangzhou Young Artists Association. His works have been selected and published in multiple national calligraphy and painting exhibitions, including the second National Chinese Flower and Bird Painting Exhibition, the second Chinese Workers' Calligraphy and Art Exhibition, and received many national and provincial awards. His biography has been included in publications such as "The Dictionary of Contemporary Chinese Calligraphers", "The World Dictionary of Chinese Calligraphers and Calligraphers". Currently living in Guangzhou, China.