Looking Back: A Superb Exploration - Guanzhen’s Lacquer Arts
Chen Canfeng
 
In this age and time, some people succumb to the quick changes and tirelessly search for a place of comfort to free themselves from weariness, while others attempt to surpass the limitations, striving to take a breath out of them. In terms of one's existence, neither of these groups have a clear shot at success. The only distinction is whether the seekers and the escapers leave any footprints on the run: either through going hand-in-hand with the times or breaking the mold. That, is the very foundation of the works of an artist. 
 
Times are constantly changing. Though at a glance things may seem entirely different, the fact is, the fundamental rules remain unchanged. Therefore, the concept of "progress" or "stagnation" does not apply to art. There will only ever be "good" and "bad" and the difference between “good” and “bad” lies in the relationship between art and our times, or rather, the relationship between an artist and our times. Whether an artist fits in or goes against modern times, ultimately, it is about trying to find their own place in history and adding on to the contribution of artists of the past. Thus, as was done in the past, artists have made use of selected materials and certain techniques in order to create a work of art with emotion and inspiration. Any drastic changes are simply results of the difference between the past and the present.
 
Art is heavily influenced by the characteristics of each era and history. They determine the way a work of art is presented and the ideas behind it. As for lacquer, the balance between modern times and history determines the future of its artistic forms and is ever evolving. Guanzhen’s works in this exhibition showcase his own discoveries, as an artist, searching for a place for lacquer arts in modern times. And it seems that this adventure is moving towards a promising future.
 
Starting from the Han Dynasty, all the way through the Song, Yuan, Ming and Qing Dynasties, lacquer products (either for daily use or leisure) were only accessed by the upper class. Lacquer products were thus viewed as luxury and were a synonym of magnificence and richness. The former refers to the textual characteristic of lacquer - brightness equivalent to a reflective surface of a mirror; the latter refers to the artistic nature of lacquer - expressions and thoughts beyond the end of time. Both characteristics still apply to modern creation of lacquer arts. Either lacquer paintings or lacquer wares seldom deviate from them. Therein lies the charm of lacquer arts, its magnificence and richness also became an advantage in terms of art medium. Nonetheless, lacquer by itself cannot become a form of art. The true form of lacquer arts lies in how lacquer is used to convey ideas behind each work. By using sheer materials - twine and spun silk, Guanzhen pursues simplicity rather than magnificence and natural beauty rather than richness, and he challenges the traditional art form of lacquer painting in order to explore the combination of lacquer and easel painting. This is his own experimental style, which reflects his original thoughts on current situation of modern lacquer arts and also a faithful expression of his present thoughts. 
 
The originality in terms of form is the most important feature of Dunhuang-themed lacquer paintings. Modern lacquer paintings are generally drawn on a lacquer plate, the fabrication of which is significantly related to the application of lacquer, the disposition of painting and the perseveration of artwork. Therefore, most artists make the most of its natural characteristics while painting. However, in Guanzhen’s works, flimsy spun silk has taken the place of heavy lacquer plates, and on the spun silk lacquer has changed into a splash of bright colors with strong personal emotions - mysterious yet slightly transparent. With such method, the artist intends to start a conversation between lacquer paintings and traditional paintings. Such exploration makes it possible for lacquer painting to be considered a true form of art. As is widely acknowledged, although lacquer has thousands of years of history, it was only in recent decades that lacquer painting was individualized as a form of painting. The greatest strengths and bottlenecks of lacquer both stem from its material nature. Since its existence lacquer has been considered too majestic to be accepted by the masses. It seems to be the destiny of Iacquer, and it's also the most difficult obstacle for modern artists to break through. The past and the present have seamlessly merged into one, under such circumstance it is hard for art to fit in.
However, in these artworks, the utilization of spun silk boldly breaks away from the fundamentals of lacquer art, because artists can only draw on this material. For example, you can make some fine brushwork on Shuxuan paper because it withstands repeated coloring and shading, whereas only freehand brushwork can be made on Shengxuan paper and it requires a high level of control. In this case, lacquer is a material to paint, whether thin or thick, bright or dark, all the characteristics of lacquer are at the service of a line or a block of color which then forms the ideal painting in an artist's mind. Undoubtedly, it is a risky move. Firstly, this form of lacquer art may not be accepted; secondly it does not conform with ancient techniques of lacquer painting. By exhibiting lacquer this way, the artist is faced with even more uncertainties. However, this is also a breakthrough achieved with the artist's faith. The use of spun silk expresses his highest regard for traditional painting. For lacquer painting to avoid its undesirable fate, it's necessary to replace established recognition of its artisanal nature building up its pictorial value, break away from the restraints and ultimately realize its purest artistic form.
 
Echoing this theory, the theme of these artworks deeply reflects the artist's infatuation towards the spirit of classical art. Dunhuang art was born from the sincere consecration of our ancestors. Therefore it is no coincidence that Dunhuang was created in a remote and isolated place - only by separating oneself from earthly clamor can supreme purity be obtained and only the most heartfelt creations can free the spirits of people buried in earthly tribulation. Dunhuang art, combining traditional Buddhism culture with painting and statue art, stands at the pinnacle in art history. Dunhuang, a classical and immortal creative theme, represents paramount solemnity, highest sincerity and absolute eternality. 
 
Through Guanzhen's creations, this theme is intensified by elaborating line drawn statues which exhibit the styles of Sui and Tang Dynasties from application of shapes, colors and lines. Within these sincere drawings, every stroke contains a private conversation with the ancient. However, with various colors, the images of the statues are partly hidden and partly visible. Thus, through the application of lacquer, the Dunhuang style becomes familiar yet foreign. Just like the hardships in reality. When people try to seek comfort through lessons from history, most of them sadly realize that times past cannot be resumed. Only classic works of writing and art can build a spiritual garden which accommodates wandering ideals and spirits.
 
Looking back at the past is never a one-way process, and looking back in itself doesn't mean escaping from who we are. To some extent, these lacquer paintings are more like a splendid adventure, rooted in the modern world - under current circumstances, with modern art styles, concerning people living in our age and society and their state of mind. Art can never stand alone from history and no one can separate themselves from the times they're living in. Art is just like a window, when you open it up, you can see the world; when you close it, you're still able to fulfil yourself.