disguised fromback

"Blank-leaving", in Chinese ji-bai-dang-hei (“计白当黑”), is a very important and highly valued technique in Chinese painting. While the white space can be seen as invisibility and the black space as visibility, "Blank-leaving" is a practice of the representation from invisibility to visibility in the creation of Chinese painting. Hua Lin, a painter of Qing Dynasty, wrote in his book "The Secrets of Southern Lineage" (《南宗抉秘》):" Blankness is the whiteness of the paper. With respect to the sunny side of mountains, the flat surface of rocks, the vast expanse of water and sky...white space is employed to express the sky, water, cloud, road and daylight." In other words, though blankness is the texture of the paper, it embodies some kind of expressiveness in painting. White space is a complement to the subject matter, an integral part of the whole painting. The white space deliberately left can induce imagination and create splendid artistic state.

The exhibition theme is "Disguised Form-Ink Paintings’ Dimension". The exhibited works include categories of painting, video, calligraphy and photography etc., which are all new experiments of Chinese painting. Therefore, "whiteness" is taken as the key concept of this exhibition visual effect to echo the theme of disguised ink. Moreover, in order to represent the artistic conception of blankness and actuality, invisibility and visibility, we extract the most common patterns used in the mounting of Chinese painting such as circle, circular sector, rectangle into abstract symbols and apply them to manifest the exhibition theme on white paper by gliding and silk screen printing.

“计白当黑”是中国画中非常重要的一种技法,中国画也十分讲究“计白当黑”。“计白当黑”是“有”与“无”的思想在国画创作过程中由无形质落实到有形质的活动实践。在这里“白”可以看作“无”,“黑 ”可以看作“有”。清代画家华琳在《南宗抉秘》中说:“白即纸素之白,凡山石之阳面处,石坡之平面处,及画外之水天空阔处......以之作天、作水、作云、作道路、作日光,皆是此白。”也就是说,“白”是指画纸之质地,但是在绘画作品中,可将其置有形”之境,与画面中的主题素材相互补充,成画有机的组成部分。”无画处正是画的“白”,“白”能无形地诱发人们的想象,创造美妙的艺术境界。

本次展览主题“变相-水墨的维度”, 参展作品皆为中国画的一种新尝试,参展作品涵盖绘画、视频、书法、摄影等。故以“计白当黑”为本次展览视觉的主概念,回应展览主题求变的水墨观,并提炼出中国画装裱中最常用的形态(圆形、扇形、方形等)形成抽象符号,在白纸上分别用丝印白和烫白展览主题及图形,以此还原中国画中的虚实,有无的意境。