Inherit to inovate
——Lacquer art of Wang tianliang
Qiao shiguang

Wang tianliang, graduated from painting major in Fujian Crafts Art Collage in 1985. The so-called crafts painting applies crafts materials, usually carries a decorative character due to the limitation of the material, skill and function, so as called decorative painting, which is actually similar in terms of lesson program to mural that I majored in.Besides systematic study of sketch, line drawing, ink, color ink, painting, sculpture, the students are required to learn about classic arts such as pottery, bronzes, lacquer utensil from Chu and Han dynasty, portrait on stone from Han dynasty, murals from Sui and Tang dynasty,plus the lectures for folk art like paper cuttin,new year painting etc.Through the systematical training and edification, the students can not only paint well, but artisitically accomplished: Chinese painting, Western painting, color and sketch, calligraphy and ink painting, theory and practice.Wang tianliang is a such cultivated talent, he majored in fine art and history, especially skillful in calligraphy and ink painting, this knowledge background grows his profound passion towards the Chinese traditional arts, as well determined his art developing direction, formed his lacquer art characteristic which carries a strong aroma of Eastern culture.

In terms of the subject,Wang used to get material from traditional culture icons, from pottery patterns, dunhuang caisson to calligraphic element from oracle, bronze tripods, Zhuan calligraphy in Qin dynasty, Li calligraphy in Han dynasty, Stele in Wei dynasty and cursive style, can be all inovated through his decomposition, transplantation, combination and mixture.His series works from the early modern decorative curve and modern ink, to the afterwards “lacquer calligraphy”, “Yang Shao”series, and the latest “Grand Utensil”series, all deeply rooted in Chinese traditional culture, carries the Eastern culture tradition and modern aesthetic meaning.

In terms of style, Wang inherit the abstraction technique from the tradition. Abstraction is not the patent of the West, it’s actually quite common in Chinese traditional art, the thin, leak, wrinkle, through qualities of the Tai Lake Stone are the good examples as abstract sculpture;traditional furniture and exhibits apply a lot marble decoration,its smooth pattern is similar to the western abstraction painting;Chinese calligraphy and ink painting carries a strong aroma of abstraction as well; even for traditional lacquer art, the variety of colorful pattern decaration created with some natural elements or tools are also abstract expressions.These abstract methods inspired Wang to develop his style into abstraction on the base of his solid accomplishment in Chinese calligraphy and ink painting.

In terms of media, Wang chooses lacquer as his expression.Years back, Wang held modern decorative engraved paper and calligraphy exhibition, afterwards he never stopped to discover new materials, e.g. prcelain, pottery, wood, soil, paper, metal and stone. With the deeper of the practice and more mature of the theorical thinking, he started to notic the culture character of the material itself, and realized that no matter the theme or style, material will always leads a specific aesthetical tendency onto the work.From there, he finally set lacquer as his terminal.Fuzhou is the hometwon of lacquer, Shen shaoan from Qing dynasty revived the Chinese traditional bodiless technique, invented gold-silver color soil painting technique.Later on, Li zhiqing inovated further the technique of painting towards multiple abstraction pattern.Lacquer art applies a variety of material, style, subject, it’s eclectic and absorbing, stand on material and spirit,a grand media for the lofty, deep, broad realm Chinese culture, shares a limitless potential inheriting the cerebration.

In terms of inovation for lacquer, Wang highlight a three dimensional figure for his work.On one hand, the lacquer art tradition in Fuzhou provides a unique condition for the growth of lacquer art on the shoulders of the previous meastros.On the other hand, due to the maturity of the traditional lacquer art, a lot regulations were established as well inside the system,these conservative thinking becomes a big barrier for inovation, Wang was even side-treated by someones.Faces these obstruction, Wang bravely started his three dimensional lacquer creation.The concept of extrude lacquer was originated from Japan, by then the PRC was just ramping up,and Wang was one of the few who lead in this field.In fact, extruded lacquer was found earlier in Chinese traditional lacquer, e.g.lacquer tomb beast found in tomb from the Warring States (403-221 B.C.), folder-linen buddha from South-North dynasty and Sui dynasty etc., but all submerged among the countless lacquer utensils, without a specific classification.To name it, in my opinion, “Lacquer sculpture”(漆塑) can be the best, it’s more clearer concept than three dimentional mold,to take a maybe not proper metaphor, it’s like name the tea as drink.The lacquer sculpture of Wang, especially his “Grand Utensil” series,taking the phylosophical term Grand cube without corner, Grand utensil comes late, Grand melody lacks sound, Grand vision is shapeless from Tao Te Ching as a starting point, shows a vast silence.This series colored in black, with little colorful paitning over surface,is generated from the artist’s longterm thought in traditional lacquer and colorful ink;meanwhile, techniquely he applies traditional bodiless method to liberate the forms, give a richness which recalls the nature-human spirit from Chu and Han dynasty.The works can be in a flexible composition, can be hanging can be displayed in windows, matches perfectly with the aesthetical demand of the modern society.The culture meaning contained by these works enables them fly over the category of pure painting or sculpture,adding a majestic beautiy onto the delicate technique from the Fuzhou bodiless skill.It’s a new form of Chinese lacquer art, a development and creation,a fresh fruit from Wang’s inherit and inovation.Once said a painter:long live the tradition, one year long the inovation.Wang’s inovation brings new youth to the tradition, and brings it into the current tradition and become something new. Learn new knowledge by reviewing old.Wang’s inovation developed on the base of traditional lacquer art, is a vivid water, a tree with rich roots, a characteristic extension of traditional lacquer, and a splendid inovation for modern lacquer art, shows us the energy and enthusiasm.

Wang is in the golden period of his creatin, like the midday sun. I can’t wait to see more and better works from him,and wishes him to contribute more inovation towards the Chinese lacquer art.

Qiao shiguang
Chairman of Chinese Lacquer Painting Academic Committee
Member of Chinese Fine Art Committee
Professor in Central Crafts Art Collage