Over the past several years, the word “innovative” has been used countless times to describe “ink painting”, “finely detailed, traditional Chinese painting”  (in Chinese, gongbi “工笔”,hereinafter referred to as “gongbi”)and even “sculpture”. Such labelling of art is more easily promotable, and more easily facilitates the logic of the market.  However, at present, this trendy approach is gradually dying down, and we are once again focusing our attention on the work of art itself. 

Kang Chunhui’s works don’t really follow the crowd and represent an independent approach in today’s busy world of gongbi painting.  Her “Flowers the Whole Year” series  naturally attracted me because of her use of roots of plants as the main component featured in these paintings.

Chunhui paints roots.  I imagine that in her eyes the repetitive quality and intertwining nature of roots have their own distinctively aesthetic appeal.This moment is the time at which we must find strength in the search for our roots.  What we refer to as “ancient” and “traditional” are not things of the past, but are an ongoing continuum into eternity.  Secondly, we must consider the roots which give rise to our senses.At present, the spread of urbanization and smog swept along by environmental pollution has stifled our six faculties of sensory awareness, our “six roots of sensation”.  These so-called six sensory faculties or “six roots” are as follows:  “Our eyes are the sensory faculty which gives us our sense of sight; our ears are the sensory faculty which gives us our sense of hearing; our nose gives us our sense of smell; our tongue gives us our sense of taste; our body gives us the sensation of touch; and our mental consciousness is the root of our thoughts.  These roots which are able to give rise to life are akin to the roots of plants and trees.  Plants and trees which have roots are able to grow trunks and branches.

Our cognition arises from our roots. Our six roots give rise to our six levels of consciousness, in the same manner.”

Her new series of works, especially the “Root of Life” series, takes her artistic creation to a new level.  On the contrary, her style embodies an unyielding spirit.  She explained to us that the concept of the “Root of Life” was inspired by the “Chapter on Letting Things Be” (在宥篇) in Zhuangzi (庄子).  Zhuangzi states, “All things flourish and return to their roots. Each thing returns to its root without knowing that it is doing so.  All things are unevolved and unaware, and thus remain throughout their existence. If they became aware that they were returning to their roots, they would become separated from this process.  They do not seek to identify it.  They do not discern their true state of being.  Accordingly, things come into existence spontaneously of their own accord.”  One may reflect on the deep meaning in this passage.

In this exhibition there is also a painting named “Root of All Life Confrontationt” , a work which incorporates multimedia components. The images in this painting come directly from the famous sculpture “Lacoon and His Sons”.The sense of tragedy expressed in this work provides insight into the aspirations of the artist, Kang Chunhui.  Using the gongbi style of painting to convey a sense of tragedy is a gamble, and requires substantial daring.  The style of the painting should be magnanimous and the artist must have the ability to successfully create such a work. 

This new group of Chunhui’s works, has in fact inspired me to realize this.  Moreover, her use of color incorporates the color schemes of Xinjiang’s Kizil Grottoes, with bright hues expressed in sedate tones, which considerably enhance the colors in her works.  The key point is that she has not been crushed under the weight of classical relics.  Kang Chunhui is indeed able to naturally incorporate the essence of past artists in her own creations.  She should indeed be congratulated on her achievement!