When the catalogue of Shiming’s sculptures was published, I wrote some anecdotes about Shiming’s art. Unexpectedly, it stimulated the interest of the publisher who insisted that I must talk more about Shiming’s artistic achievements. So, I continued to discuss this topic based on the contents I have shared before. Last time, I mentioned that he inherited the tradition of Han figurines. During the seven years when he restored artworks in museums, he absorbed a lot of the excellent traditions of Han figurines, which were not about format but they included a principle to be free and express what was felt. Anything, be it pigpen, doghouse, ham, dried fish, dignitaries, merchants, pawns, buskers who swallow blades and spit flames, singers, dancers, or even city towers, kitchen and toilets, all that was never regarded as subject matters of a sculpture was given a green light by the figurine sculptors in Han Dynasty who considered them natural and fascinating. I believe this was the key point of what Liu Shiming had learned.
The Han figurine sculptors probably never thought of themselves as artists, but they all had the instinct of an artist. Of course, they would ponder on the practical purpose of the figurines, which was to accompany the tomb owner in his or her afterlife. Liu Shiming is certainly a conscious artist, but he has fully absorbed the simplicity and sincerity of the Han figurine sculptors. He takes full advantage of this free and expansive category of art, thereby expressing his own joys and sorrows, and at the same time embodying our troubled but hopeful times.
When Shiming went to the countryside with opera troupes, he noticed a female performer backstage, still with makeup on, sitting on a chest for stage props and nursing an infant. At her feet, there were two chickens foraging. Such a vivid and unforgettable tableau. This is highly occasional, but it reveals such triviality of the tough times. For another example, in summer, while the melons were ripening in the field, a cadre, who transferred to a lower level or to do manual labour in the countryside, and an old farmer guarding the melons from a shed. It was messy in the shed and there was even a water jug under the bench. The old farmer was smoking and carefree, whereas the spectacled cadre appeared confused and nervous. In the sculpture, their faces are of the size of beans, but their facial expressions and postures are intricate and dynamic.
During and after the Cultural Revolution, various lives have been reflected in literature, but also in sculpture where I find the representation by Shiming. In the 1980s, numerous cadres retired. Although life became easy with all the official duties and responsibilities removed, a person who used to be in charge of others but now became the procurement specialist in the household did not feel great. He was disheartened, so casually he wandered about, swinging a big plastic bag in his hand. Inside the bag, there were actually two hairtails.
Shiming is kind-hearted. He does not mean sarcasm against retired cadres. He simply observes with a keen eye, discovers, and records the pessimism and fickleness in life. He simply feels and depicts “life” in a sincere manner. He does not aim to create masterpieces. When he’s moved by what he sees, he derives pleasure from the recreation. This is how he surpasses fellow artists who pursued blockbusters in terms of artistic thoughts and technical levels. Therefore, he found the most suitable and free form of art for him, achieved a high degree of unity of content and form, and reached a pinnacle in art. Shiming has accomplished such a grand masterpiece as Splitting the Mountains to Let the Water Flow and also other exciting pieces that echo the “main melody” such as Ansai Waist Drummer. But for some reason, what I prefer are the improvisations in the style of Han figurines.
Another principle that Liu Shiming inherited from the traditions of Han figurines was xieyi (freehand brushwork). He hardly ever draws sketches, let alone photographs. He only feels with all his heart. When creating, especially when making these small clay sculptures, he doesn’t need models at all, and basically there is no way to find such models. Of course, there is no need for him to look for these models. When Mr. Lu Xun summed up how the East and the West created differently, the Chinese way was described as “Observe quietly, memorise by heart, concentrate and think, and create at one go.” I think this is how “freehand brushwork” works, which is very different from the European realistic methodology. Europeans have adopted realism for over two millennia. They always use a person as a model, and then synthesise and develop. We the Chinese have always relied on memory. “Memory” itself is what is left after the artist selects, emphasises, concentrates, and summarises the impressions and feelings in life.
Memory is the most natural way to turn life into art. It is impossible to be completely abstract or completely figurative, but rather between similarities and dissimilarities, which Li Keran referred to as yixiang, roughly translated as spiritual images. There is a long way to go of course, from memory to the spiritual image, but memory is indeed an extremely natural and extremely easy pathway for the artist to create a spiritual image. Another benefit of this approach is simplicity. Tedious details are naturally dropped, key points are naturally highlighted, and the emphasis and exaggeration are naturally achieved. In short, memory is indescribably wonderful.
It is a pity that the course regarding painting from memory was suddenly abolished after the liberation, and everything was replaced by the simple realistic methodology. Here, I am to blame for unilaterally advocating the Soviet school. I have mentioned in my last article that Shiming’s early departure from the Central Academy of Fine Arts was a blessing rather than a curse. The blessing was that he naturally inherited and carried forward the xieyi tradition. Fortunately, he forsook models, and underscored the Chinese characteristics in both the principles and methods of art creation. Shiming is two years senior to me, but he remains full of spirit and young at heart. I believe that he will live a long life, and he will continue to create and surprise his old friends!
The Han figurine sculptors probably never thought of themselves as artists, but they all had the instinct of an artist. Of course, they would ponder on the practical purpose of the figurines, which was to accompany the tomb owner in his or her afterlife. Liu Shiming is certainly a conscious artist, but he has fully absorbed the simplicity and sincerity of the Han figurine sculptors. He takes full advantage of this free and expansive category of art, thereby expressing his own joys and sorrows, and at the same time embodying our troubled but hopeful times.
When Shiming went to the countryside with opera troupes, he noticed a female performer backstage, still with makeup on, sitting on a chest for stage props and nursing an infant. At her feet, there were two chickens foraging. Such a vivid and unforgettable tableau. This is highly occasional, but it reveals such triviality of the tough times. For another example, in summer, while the melons were ripening in the field, a cadre, who transferred to a lower level or to do manual labour in the countryside, and an old farmer guarding the melons from a shed. It was messy in the shed and there was even a water jug under the bench. The old farmer was smoking and carefree, whereas the spectacled cadre appeared confused and nervous. In the sculpture, their faces are of the size of beans, but their facial expressions and postures are intricate and dynamic.
During and after the Cultural Revolution, various lives have been reflected in literature, but also in sculpture where I find the representation by Shiming. In the 1980s, numerous cadres retired. Although life became easy with all the official duties and responsibilities removed, a person who used to be in charge of others but now became the procurement specialist in the household did not feel great. He was disheartened, so casually he wandered about, swinging a big plastic bag in his hand. Inside the bag, there were actually two hairtails.
Shiming is kind-hearted. He does not mean sarcasm against retired cadres. He simply observes with a keen eye, discovers, and records the pessimism and fickleness in life. He simply feels and depicts “life” in a sincere manner. He does not aim to create masterpieces. When he’s moved by what he sees, he derives pleasure from the recreation. This is how he surpasses fellow artists who pursued blockbusters in terms of artistic thoughts and technical levels. Therefore, he found the most suitable and free form of art for him, achieved a high degree of unity of content and form, and reached a pinnacle in art. Shiming has accomplished such a grand masterpiece as Splitting the Mountains to Let the Water Flow and also other exciting pieces that echo the “main melody” such as Ansai Waist Drummer. But for some reason, what I prefer are the improvisations in the style of Han figurines.
Another principle that Liu Shiming inherited from the traditions of Han figurines was xieyi (freehand brushwork). He hardly ever draws sketches, let alone photographs. He only feels with all his heart. When creating, especially when making these small clay sculptures, he doesn’t need models at all, and basically there is no way to find such models. Of course, there is no need for him to look for these models. When Mr. Lu Xun summed up how the East and the West created differently, the Chinese way was described as “Observe quietly, memorise by heart, concentrate and think, and create at one go.” I think this is how “freehand brushwork” works, which is very different from the European realistic methodology. Europeans have adopted realism for over two millennia. They always use a person as a model, and then synthesise and develop. We the Chinese have always relied on memory. “Memory” itself is what is left after the artist selects, emphasises, concentrates, and summarises the impressions and feelings in life.
Memory is the most natural way to turn life into art. It is impossible to be completely abstract or completely figurative, but rather between similarities and dissimilarities, which Li Keran referred to as yixiang, roughly translated as spiritual images. There is a long way to go of course, from memory to the spiritual image, but memory is indeed an extremely natural and extremely easy pathway for the artist to create a spiritual image. Another benefit of this approach is simplicity. Tedious details are naturally dropped, key points are naturally highlighted, and the emphasis and exaggeration are naturally achieved. In short, memory is indescribably wonderful.
It is a pity that the course regarding painting from memory was suddenly abolished after the liberation, and everything was replaced by the simple realistic methodology. Here, I am to blame for unilaterally advocating the Soviet school. I have mentioned in my last article that Shiming’s early departure from the Central Academy of Fine Arts was a blessing rather than a curse. The blessing was that he naturally inherited and carried forward the xieyi tradition. Fortunately, he forsook models, and underscored the Chinese characteristics in both the principles and methods of art creation. Shiming is two years senior to me, but he remains full of spirit and young at heart. I believe that he will live a long life, and he will continue to create and surprise his old friends!
25 February 1999