Bo-Chen SHENG/ Curator
Preface
From the historical development of ink painting, it can be confirmed that the history, vocabulary, techniques, themes, and even aesthetic standards of "ink painting" have been developed and established by male creators and theorists. Starting from the "Preface on Shanshui Painting" by Zong Bing, the "Catalog of Ancient Paintings" by Xie He in the Southern Dynasties, and further to Zhang Yanyuan's "Record of Famous Paintings Through Dynasties," and Guo Xi's "Linquan Gaozhi," Han Zhuo's "Complete Collection of Shanshui Paintings," Tang Hou's "Painting Manual," Dong Qichang's "Notes on the Studio of Zen Painting," Zhao Zigang's "Talks of Han Shan's Broom," and Shi Tao's " “Sayings on Painting from Monk Bitter Gourd " even Kang Youwei in the late Qing Dynasty and early Republic of China criticized the shortcomings of ink painting in his "Catalog of Paintings in the Wanmu Caotang Collection." In the 1960s, with the interpretation that "the brush is dots and lines; ink is color and surface; and texture is texture," the concepts of "brush," "ink," and "texture technique" were liberated from the framework of "tools," "materials," and "painting techniques" of the past. They were then integrated with the compositional logic and conceptual ideas of Western art, proposing the "revolution of the brush" and the "revolution of the center tip" by Liu Guosong. Looking back at this artistic history spanning over a millennium, it can be summarized as a grand aesthetic system constructed by male practitioners and thinkers, reflecting on the development and theoretical reflection of ink painting.
It's worth pondering whether the presence of "women" is truly absent from this vast system or if their voices and contributions have inadvertently or intentionally faded into the background of this extensive art tradition. Despite notable female calligraphers like Wei Shuo, who authored the influential "Brush Techniques Diagram" that impacted Wang Xizhi's "Eight Principles of Yong," their recognition and impact in calligraphy history still pale in comparison to figures like Wei Heng, known for the "Four Styles of Calligraphy."
Wei Shuo extolled as "graceful as a lotus, like a dancing flower girl" in Wei Xu's "Ink Forest" and praised by Zhang Huaiyuan as "serene as a gentle breeze, as radiant as moonlight on a jade platform, as elegant as fragrant trees" in "Critics of Calligraphy," epitomizes female creators and theorists as lone stars in the vast expanse of history, their legacies gently rippling but failing to make significant waves.
Wei Shuo's journey highlights a fundamental aspect of the thousand-year history of ink and brush: an art form primarily shaped by men, from its technical guidelines to standards of aesthetic judgment. Consequently, due to inherent physical differences, "women" might be perceived as missing out on many unique creative possibilities. After all the notion of "qi" in ink a brush, reflects abstract concepts framed within the male experience, contributing to the likelihood of "women" being overlooked within this vast and enduring artistic tradition, relegated to the sidelines of the established lineage.
Viewed from an alternate angle, women's potential within this lineage of development might lie in offering a fresh interpretation of the aesthetic underpinnings of the entire ink painting system. Engaging in a dialogue that merges contemporary embodiment with longstanding historical norms, women can embark on a journey of challenging assumptions and speculative exploration. It is through this process that they could find their place within the vast and enduring framework of "ink and brush." Just as Wei Shuo's "Brush Techniques Diagram" delves into brushwork and lines through the lens of bodily anatomy, women can chart a distinct path, offering a unique perspective beyond the traditional discourse of ink painting aesthetics.
Focusing on artist Yuan Hui-Li's artistic strategy of engaging in response and challenging the traditions of ink painting from its foundations, the curatorial project " Essence Ablution: Inks, Brushes and Embodiment of Yuan Hui-Li’s Shanshui Painting " seeks to showcase the multifaceted aspects of the creator's reconstruction of the ink painting system. Additionally, it aims to demonstrate how the artist's "feminine writing" effectively reorients viewers to once again contemplate the response of "women's painting and calligraphy" to traditional artistic contemplation and contemporary aesthetic postures.
Essences Ablution: The aesthetical rising and challenging of feminine ink painting theories
Taking the meanings of the characters individually, "元" signifies "beginning," "fundamental," or "excellence"; while "漱" means "to cleanse" or "to rinse." Together, "元漱" can be understood as "cleansing at the origin" or "Rinsing the essence." And therefor it is “Essence Ablution”
Reflecting on the history of "women's ink painting and calligraphy," it emerges as a faint and indistinct presence within the broader narrative of Chinese art. It wasn't until the 1930s, with the introduction of Western cultural influences into Chinese society, that the figure of the "female painter and calligrapher" began to gain clarity. In April 1934, the establishment of the "Chinese Women's Painting and Calligraphy Association" in Shanghai marked a significant milestone as the first female art organization in China. Comprised of talented and like-minded female artists including Li Qiujun, Lu Xiaoman, Wu Qingxia, and Pan Yuliang, the association was led by He Xiangning as its honorary president.
While the "Chinese Women's Painting and Calligraphy Association" represented a notable development in the recognition of female artists, it must be acknowledged that their contributions primarily remained within the realm of memory, rather than generating substantial critical or innovative discourse. Unlike predecessors such as Wei Shuo, these female artists did not consider her theories and concepts as foundational benchmarks. Thus, they did not engage in significant discourse regarding the foundational elements of "ink," "painting and calligraphy," "brush and ink," or "qi," akin to figures like Liu Guosong or Kang Youwei.
Upon closer examination, it becomes evident that the artistic sensibilities and aesthetic inquiries of female ink painters of the past were largely intertwined with the extensive system established by male counterparts. It will take time for a highly feminist artistic consciousness to emerge, one that endeavors to create a theory of ink painting practice distinct from the male perspective and to challenge or broaden the theoretical landscape of ink painting from a unique standpoint.
As previously noted, historical treatises on painting and calligraphy were authored almost exclusively by men, grounded in abstract concepts such as "qi" when discussing the dynamics between brushwork, ink, and artwork. What's more, the aesthetic and philosophical underpinnings, along with the terminology used, were steeped in an overtly masculine and male-centric ethos. Terms like "authority" and "cosmos" exemplify this bias. Consequently, the essence and contribution of "women" within this artistic domain have largely been overshadowed and marginalized.
Given the entrenched dominance of this overtly masculine and expansive framework in ink art, the true potential for innovation in "women's ink painting and calligraphy" lies in fundamentally reexamining and reinterpreting established concepts and standards such as "ink," "painting and calligraphy," "brush and ink," and "qi" from an artistic perspective. Essentially, this entails embarking on a creative exploration at the theoretical foundation of ink art.
The exhibition title theme "元漱"( Essences Ablution:) draws from both the artist Yuan Hui-Li's pen name and aims to spotlight the artist's artistic consciousness and aesthetic strategies in ink wash painting. It signifies the artist's conscious return, from a female perspective, to the foundational aesthetics of ink wash painting, engaging in a creative process of dialogue and reflection.
Women's Writing (Écriture feminine) and the creativity body
“Woman must write herself: must write about women and bring women to writing, from which they have been driven away as violently as from their bodies”＿Hélène Cixous, “The Laugh of the Medusa”(1975)
Building upon the previous discussion, if we consider Yuan Hui-Li's creative journey as a reevaluation and dialogue with the traditional artistic and aesthetic theoretical systems constructed predominantly by men, it's essential to explore the foundation of this dialogue. Much like the feminist literary theories constructed by figures like Hélène Cixous and Luce Irigaray, "feminine writing" begins with the body, writes the body, extends to the spirit, and engages in a conversation with the world and its realities. It involves rewriting the image of women and their unique historical and contemporary perspectives from a new feminine viewpoint.
The "body" serves as the fundamental basis that enables Yuan Hui-Li's artistic expression to echo and contemplate the aesthetic principles of ink painting. These principles are largely rooted in male-centric and abstract theories of "qi."
Looking back at Yuan Hui-Li's creative practice from this perspective, we can say that the artist's artistic strategies and practices are a process of clarifying and reshaping the foundational theories of traditional painting and calligraphy. The "body" serves as the anchor for the artist to respond to the abstract "qi" theories inherent in the traditional framework.
Looking back at Yuan Hui-Li's artistic journey, starting with the concept of the "body," one of the most notable aspects is her " Manual of Yuan's Texturizing Strokes” s（袁氏皴譜）series, which explores the foundational elements of ink painting. These "Cun technique（皴法）" patterns, ranging from "curled hair" and "silken threads" to "turbulent emotions" and "tearful points," diverge from traditional patterns like "hemp scroll" and "raindrop," which are named after external visual phenomena. Instead, Yuan's patterns draw inspiration from bodily and emotional experiences. The shifting of naming reflects a broader transformation in ink painting consciousness, moving from the external world to an exploration of the internal realm. Through her innovative" Manual of Yuan's Texturizing Strokes”, Yuan Hui-Li expands the scope of women's painting and calligraphy, bridging the gap between inner emotions and outward expression.
Another aspect worth exploring is the development of the overall artistic knowledge and aesthetic system of ink painting. Aside from the choice of external world "subjects" (nature), "Cun technique" fundamentally demonstrates the bodily and material foundation (artificial, manpower) upon which the thinking of ink painting has evolved.
If the "Manual of Yuan's Texturizing Strokes" as a reflection of how the artist responds to the abstract concept of "qi" through perceptual bodily experiences. We can also observe her approach to selecting "materials" and "subjects." In her "Fiery Ink (Fire Ink)" series, she addresses the contemporary ecological crises of raging wildfires and dense haze prevalent in natural landscapes. Here, the misty dampness that traditionally characterizes ink painting, drawn from the wilderness, forests, and water's edge, transitions into the lingering ashes of a wildfire. Through her " Fiery Ink (Fire Ink)" series, which juxtaposes fire with water, the artist conveys not only her bodily sensations in response to natural disasters like forest fires and haze but also her reflective phenomenological stance toward contemporary landscapes.
In the new series " Intrinsic Potential Landscape," the essence of "images" embodies the artist's perception and contemplation of the contemporary society inundated with images, be they natural or cultural. What unites these different series is the artist's sensuous understanding formed by the body and perception. It's an exploration that begins with the perception of the "vivid reality of the present moment" as the basis for studying ink painting. Through "bodily perception," Yuan Hui-Li returns to the essence of things, summoning the primal consciousness that exists within the strokes, thus evoking a presence in ink that reflects the true essence of existence.
Brushes, Inks: Shu, Ha, Ri
Dedicate to protect, break or detach, but never forget its essence. - Sen No Rikyu'
「規矩作法 守り尽くして破るとも離るるとても本を忘るな」＿千利休
If we view the female bodily perception as the core of the artist's ink painting, epitomizing the essence of the "feminine script," it's equally important to address the artist's stance toward brush and ink skills, which also reflects in her artistic journey. In her path of creation, the artist's approach to mastering brush and ink may be likened to the concept of "shuhari" by Sen no Rikyū, signifying a progression from adherence to tradition to breaking away, and finally to transcendence.
"Shu" means to adhere to traditional understanding and proficiency; "Ha" refers to attempting to break free from established norms within the traditional framework; and "Ri" signifies the elevation and completion of the artist's personal artistic realm. From "Shy" to "Ha" and then to "Ri" it marks the completion of the artist's own artistic practice.
We can observe Yuan Hui-Li's endeavor process, and her journey from the initial development of her long-term personal project " Discrete Islands." Through this journey, she gradually cultivated various techniques such as " Embroidered world（繡山水）," "Cold Landscape(冷山水)," "The Dancing Lines(舞山水)," and " THEY Shanshui" attempting to deconstruct and reconstruct the classical landscape composition methods. If "Discrete Islands." represents the artist's immersion in traditional brush and ink techniques, then the introduction of new landscape propositions such as " Embroidered world（繡山水）," "Cold Landscape(冷山水)," "The Dancing Lines(舞山水),” and " THEY Shanshui” signifies her endeavor to break away from the conventions of traditional ink painting. The "Ice Ink" and "Fiery Ink (Fire Ink)" series, on the other hand, mark the true realization of this departure.
Transitioning from the completion of "Ha" to the development and implementation of "Ri" Yuan enters the construction phase of the female ink system through her works " Intrinsic Potential Landscape" and " Manual of Yuan’s Texturizing" Built upon the foundation of "Shu," the processes of "Ha" and "Ri" endow the artist with the freedom to avoid falling into predictable patterns, allowing her to step out of the confines of established aesthetic histories and the constraints of ink's materials, tools, and techniques. This genuine creative liberty prompts the artist to revisit the history and aesthetics of ink within the realm of this newfound creative freedom.
Being as a deeply versed in classical and traditional art forms contemporary artist Yuan Hui-Li's relevant artistic practices represent a distinct challenge to the male-dominated history of ink painting. Through a sensuous phenomenological approach, she paints the enchanting silhouette of "female ink art."
"Rippling waves wash the ancient shores, resonant tones discern the unique stones,"(Tang Poem) artist Yuan Hui-Li (Yuan Shu), through the emotional surges of her body, reimagines classical Sahnshui Painting. The gentle ripples and subtle eddies stirred by Wei Shuo a millennium ago now ripple anew in Yuan Hui-Li's work, charting a journey of reshaping and reinterpreting traditional ink art in a new form and perspective, boldly facing the vast and masculine tradition.
Preface
From the historical development of ink painting, it can be confirmed that the history, vocabulary, techniques, themes, and even aesthetic standards of "ink painting" have been developed and established by male creators and theorists. Starting from the "Preface on Shanshui Painting" by Zong Bing, the "Catalog of Ancient Paintings" by Xie He in the Southern Dynasties, and further to Zhang Yanyuan's "Record of Famous Paintings Through Dynasties," and Guo Xi's "Linquan Gaozhi," Han Zhuo's "Complete Collection of Shanshui Paintings," Tang Hou's "Painting Manual," Dong Qichang's "Notes on the Studio of Zen Painting," Zhao Zigang's "Talks of Han Shan's Broom," and Shi Tao's " “Sayings on Painting from Monk Bitter Gourd " even Kang Youwei in the late Qing Dynasty and early Republic of China criticized the shortcomings of ink painting in his "Catalog of Paintings in the Wanmu Caotang Collection." In the 1960s, with the interpretation that "the brush is dots and lines; ink is color and surface; and texture is texture," the concepts of "brush," "ink," and "texture technique" were liberated from the framework of "tools," "materials," and "painting techniques" of the past. They were then integrated with the compositional logic and conceptual ideas of Western art, proposing the "revolution of the brush" and the "revolution of the center tip" by Liu Guosong. Looking back at this artistic history spanning over a millennium, it can be summarized as a grand aesthetic system constructed by male practitioners and thinkers, reflecting on the development and theoretical reflection of ink painting.
It's worth pondering whether the presence of "women" is truly absent from this vast system or if their voices and contributions have inadvertently or intentionally faded into the background of this extensive art tradition. Despite notable female calligraphers like Wei Shuo, who authored the influential "Brush Techniques Diagram" that impacted Wang Xizhi's "Eight Principles of Yong," their recognition and impact in calligraphy history still pale in comparison to figures like Wei Heng, known for the "Four Styles of Calligraphy."
Wei Shuo extolled as "graceful as a lotus, like a dancing flower girl" in Wei Xu's "Ink Forest" and praised by Zhang Huaiyuan as "serene as a gentle breeze, as radiant as moonlight on a jade platform, as elegant as fragrant trees" in "Critics of Calligraphy," epitomizes female creators and theorists as lone stars in the vast expanse of history, their legacies gently rippling but failing to make significant waves.
Wei Shuo's journey highlights a fundamental aspect of the thousand-year history of ink and brush: an art form primarily shaped by men, from its technical guidelines to standards of aesthetic judgment. Consequently, due to inherent physical differences, "women" might be perceived as missing out on many unique creative possibilities. After all the notion of "qi" in ink a brush, reflects abstract concepts framed within the male experience, contributing to the likelihood of "women" being overlooked within this vast and enduring artistic tradition, relegated to the sidelines of the established lineage.
Viewed from an alternate angle, women's potential within this lineage of development might lie in offering a fresh interpretation of the aesthetic underpinnings of the entire ink painting system. Engaging in a dialogue that merges contemporary embodiment with longstanding historical norms, women can embark on a journey of challenging assumptions and speculative exploration. It is through this process that they could find their place within the vast and enduring framework of "ink and brush." Just as Wei Shuo's "Brush Techniques Diagram" delves into brushwork and lines through the lens of bodily anatomy, women can chart a distinct path, offering a unique perspective beyond the traditional discourse of ink painting aesthetics.
Focusing on artist Yuan Hui-Li's artistic strategy of engaging in response and challenging the traditions of ink painting from its foundations, the curatorial project " Essence Ablution: Inks, Brushes and Embodiment of Yuan Hui-Li’s Shanshui Painting " seeks to showcase the multifaceted aspects of the creator's reconstruction of the ink painting system. Additionally, it aims to demonstrate how the artist's "feminine writing" effectively reorients viewers to once again contemplate the response of "women's painting and calligraphy" to traditional artistic contemplation and contemporary aesthetic postures.
Essences Ablution: The aesthetical rising and challenging of feminine ink painting theories
Taking the meanings of the characters individually, "元" signifies "beginning," "fundamental," or "excellence"; while "漱" means "to cleanse" or "to rinse." Together, "元漱" can be understood as "cleansing at the origin" or "Rinsing the essence." And therefor it is “Essence Ablution”
Reflecting on the history of "women's ink painting and calligraphy," it emerges as a faint and indistinct presence within the broader narrative of Chinese art. It wasn't until the 1930s, with the introduction of Western cultural influences into Chinese society, that the figure of the "female painter and calligrapher" began to gain clarity. In April 1934, the establishment of the "Chinese Women's Painting and Calligraphy Association" in Shanghai marked a significant milestone as the first female art organization in China. Comprised of talented and like-minded female artists including Li Qiujun, Lu Xiaoman, Wu Qingxia, and Pan Yuliang, the association was led by He Xiangning as its honorary president.
While the "Chinese Women's Painting and Calligraphy Association" represented a notable development in the recognition of female artists, it must be acknowledged that their contributions primarily remained within the realm of memory, rather than generating substantial critical or innovative discourse. Unlike predecessors such as Wei Shuo, these female artists did not consider her theories and concepts as foundational benchmarks. Thus, they did not engage in significant discourse regarding the foundational elements of "ink," "painting and calligraphy," "brush and ink," or "qi," akin to figures like Liu Guosong or Kang Youwei.
Upon closer examination, it becomes evident that the artistic sensibilities and aesthetic inquiries of female ink painters of the past were largely intertwined with the extensive system established by male counterparts. It will take time for a highly feminist artistic consciousness to emerge, one that endeavors to create a theory of ink painting practice distinct from the male perspective and to challenge or broaden the theoretical landscape of ink painting from a unique standpoint.
As previously noted, historical treatises on painting and calligraphy were authored almost exclusively by men, grounded in abstract concepts such as "qi" when discussing the dynamics between brushwork, ink, and artwork. What's more, the aesthetic and philosophical underpinnings, along with the terminology used, were steeped in an overtly masculine and male-centric ethos. Terms like "authority" and "cosmos" exemplify this bias. Consequently, the essence and contribution of "women" within this artistic domain have largely been overshadowed and marginalized.
Given the entrenched dominance of this overtly masculine and expansive framework in ink art, the true potential for innovation in "women's ink painting and calligraphy" lies in fundamentally reexamining and reinterpreting established concepts and standards such as "ink," "painting and calligraphy," "brush and ink," and "qi" from an artistic perspective. Essentially, this entails embarking on a creative exploration at the theoretical foundation of ink art.
The exhibition title theme "元漱"( Essences Ablution:) draws from both the artist Yuan Hui-Li's pen name and aims to spotlight the artist's artistic consciousness and aesthetic strategies in ink wash painting. It signifies the artist's conscious return, from a female perspective, to the foundational aesthetics of ink wash painting, engaging in a creative process of dialogue and reflection.
Women's Writing (Écriture feminine) and the creativity body
“Woman must write herself: must write about women and bring women to writing, from which they have been driven away as violently as from their bodies”＿Hélène Cixous, “The Laugh of the Medusa”(1975)
Building upon the previous discussion, if we consider Yuan Hui-Li's creative journey as a reevaluation and dialogue with the traditional artistic and aesthetic theoretical systems constructed predominantly by men, it's essential to explore the foundation of this dialogue. Much like the feminist literary theories constructed by figures like Hélène Cixous and Luce Irigaray, "feminine writing" begins with the body, writes the body, extends to the spirit, and engages in a conversation with the world and its realities. It involves rewriting the image of women and their unique historical and contemporary perspectives from a new feminine viewpoint.
The "body" serves as the fundamental basis that enables Yuan Hui-Li's artistic expression to echo and contemplate the aesthetic principles of ink painting. These principles are largely rooted in male-centric and abstract theories of "qi."
Looking back at Yuan Hui-Li's creative practice from this perspective, we can say that the artist's artistic strategies and practices are a process of clarifying and reshaping the foundational theories of traditional painting and calligraphy. The "body" serves as the anchor for the artist to respond to the abstract "qi" theories inherent in the traditional framework.
Looking back at Yuan Hui-Li's artistic journey, starting with the concept of the "body," one of the most notable aspects is her " Manual of Yuan's Texturizing Strokes” s（袁氏皴譜）series, which explores the foundational elements of ink painting. These "Cun technique（皴法）" patterns, ranging from "curled hair" and "silken threads" to "turbulent emotions" and "tearful points," diverge from traditional patterns like "hemp scroll" and "raindrop," which are named after external visual phenomena. Instead, Yuan's patterns draw inspiration from bodily and emotional experiences. The shifting of naming reflects a broader transformation in ink painting consciousness, moving from the external world to an exploration of the internal realm. Through her innovative" Manual of Yuan's Texturizing Strokes”, Yuan Hui-Li expands the scope of women's painting and calligraphy, bridging the gap between inner emotions and outward expression.
Another aspect worth exploring is the development of the overall artistic knowledge and aesthetic system of ink painting. Aside from the choice of external world "subjects" (nature), "Cun technique" fundamentally demonstrates the bodily and material foundation (artificial, manpower) upon which the thinking of ink painting has evolved.
If the "Manual of Yuan's Texturizing Strokes" as a reflection of how the artist responds to the abstract concept of "qi" through perceptual bodily experiences. We can also observe her approach to selecting "materials" and "subjects." In her "Fiery Ink (Fire Ink)" series, she addresses the contemporary ecological crises of raging wildfires and dense haze prevalent in natural landscapes. Here, the misty dampness that traditionally characterizes ink painting, drawn from the wilderness, forests, and water's edge, transitions into the lingering ashes of a wildfire. Through her " Fiery Ink (Fire Ink)" series, which juxtaposes fire with water, the artist conveys not only her bodily sensations in response to natural disasters like forest fires and haze but also her reflective phenomenological stance toward contemporary landscapes.
In the new series " Intrinsic Potential Landscape," the essence of "images" embodies the artist's perception and contemplation of the contemporary society inundated with images, be they natural or cultural. What unites these different series is the artist's sensuous understanding formed by the body and perception. It's an exploration that begins with the perception of the "vivid reality of the present moment" as the basis for studying ink painting. Through "bodily perception," Yuan Hui-Li returns to the essence of things, summoning the primal consciousness that exists within the strokes, thus evoking a presence in ink that reflects the true essence of existence.
Brushes, Inks: Shu, Ha, Ri
Dedicate to protect, break or detach, but never forget its essence. - Sen No Rikyu'
「規矩作法 守り尽くして破るとも離るるとても本を忘るな」＿千利休
If we view the female bodily perception as the core of the artist's ink painting, epitomizing the essence of the "feminine script," it's equally important to address the artist's stance toward brush and ink skills, which also reflects in her artistic journey. In her path of creation, the artist's approach to mastering brush and ink may be likened to the concept of "shuhari" by Sen no Rikyū, signifying a progression from adherence to tradition to breaking away, and finally to transcendence.
"Shu" means to adhere to traditional understanding and proficiency; "Ha" refers to attempting to break free from established norms within the traditional framework; and "Ri" signifies the elevation and completion of the artist's personal artistic realm. From "Shy" to "Ha" and then to "Ri" it marks the completion of the artist's own artistic practice.
We can observe Yuan Hui-Li's endeavor process, and her journey from the initial development of her long-term personal project " Discrete Islands." Through this journey, she gradually cultivated various techniques such as " Embroidered world（繡山水）," "Cold Landscape(冷山水)," "The Dancing Lines(舞山水)," and " THEY Shanshui" attempting to deconstruct and reconstruct the classical landscape composition methods. If "Discrete Islands." represents the artist's immersion in traditional brush and ink techniques, then the introduction of new landscape propositions such as " Embroidered world（繡山水）," "Cold Landscape(冷山水)," "The Dancing Lines(舞山水),” and " THEY Shanshui” signifies her endeavor to break away from the conventions of traditional ink painting. The "Ice Ink" and "Fiery Ink (Fire Ink)" series, on the other hand, mark the true realization of this departure.
Transitioning from the completion of "Ha" to the development and implementation of "Ri" Yuan enters the construction phase of the female ink system through her works " Intrinsic Potential Landscape" and " Manual of Yuan’s Texturizing" Built upon the foundation of "Shu," the processes of "Ha" and "Ri" endow the artist with the freedom to avoid falling into predictable patterns, allowing her to step out of the confines of established aesthetic histories and the constraints of ink's materials, tools, and techniques. This genuine creative liberty prompts the artist to revisit the history and aesthetics of ink within the realm of this newfound creative freedom.
Being as a deeply versed in classical and traditional art forms contemporary artist Yuan Hui-Li's relevant artistic practices represent a distinct challenge to the male-dominated history of ink painting. Through a sensuous phenomenological approach, she paints the enchanting silhouette of "female ink art."
"Rippling waves wash the ancient shores, resonant tones discern the unique stones,"(Tang Poem) artist Yuan Hui-Li (Yuan Shu), through the emotional surges of her body, reimagines classical Sahnshui Painting. The gentle ripples and subtle eddies stirred by Wei Shuo a millennium ago now ripple anew in Yuan Hui-Li's work, charting a journey of reshaping and reinterpreting traditional ink art in a new form and perspective, boldly facing the vast and masculine tradition.
