Back and forths between Chinese painting, calligraphy, and poetry by the Taiwanese contemporary artist Lo Ch’ing
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The Taiwanese artist Lo Ch’ing, born on the Chinese mainland in 1948, practices ink painting and calligraphy, while modernizing them by using bright colors and incorporating other aesthetic experiences to it. We can detect some influence of the European painters René Magritte, Paul Klee or Jean Dubuffet on him. This artist, who is also a poet, shows great sensitivity to the written word: he deals with the relationship between poetry and painting, which is so natural in Chinese culture, in a rather innovative way. Seals play for him the unexpected role of self-portraits. His calligraphy breaks traditional rules without giving up its legibility, while the artist emphasizes its iconic and energetic dimension. Through a humorous approach in his art, Lo Ch’ing ponders the contemporary world and our existence and environment, and creates a universal language.
Abstract
The Taiwanese artist Lo Ch’ing, born on the Chinese mainland in 1948, practices ink painting and calligraphy, while modernizing them by using bright colors and incorporating other aesthetic experiences to it. We can detect some influence of the European painters René Magritte, Paul Klee or Jean Dubuffet on him. This artist, who is also a poet, shows great sensitivity to the written word: he deals with the relationship between poetry and painting, which is so natural in Chinese culture, in a rather innovative way. Seals play for him the unexpected role of self-portraits. His calligraphy breaks traditional rules without giving up its legibility, while the artist emphasizes its iconic and energetic dimension. Through a humorous approach in his art, Lo Ch’ing ponders the contemporary world and our existence and environment, and creates a universal language.
참고문헌 (13)
- Allen Joseph R., "Forbidden Games and Video Poems: The Poetry of Yang Mu and Lo Ch’ing" (1993), University of Washington Press
- Clunas Craig, "Art in China" (2009), Oxford University Press
- Christin Anne-Marie, "Poétique du blanc : vide et intervalle dans la civilisation de l’alphabet" (2009), Librairie philosophique J. Vrin
- Christin Anne-Marie, "L’image à la lettre", pp.253~273 (2005), Musées & Des Cendres
- Didi-Huberman Georges, "Ce que nous voyons, ce qui nous regarde" (1999), Editions de Minuit
- Ellul Jacques, "Le système technicien" (2012), Cherche Midi
- Ink Art, "Past as Present in Contemporary China" (2014), The Metropolitan Museum of Art
- Jameson Fredric, "Le postmodernisme ou la logique culturelle du capitalisme tardif" (2011), ENSBA
- Jullien François, "Il n’y a pas d’identité culturelle" (2016), L’Herne
- 當代藝術市場結構 Dangdai yishu shichang jiegou (The contemporary art market structure), "Lo Ch’ing", Jiuge, ~ (2019)
- Manfredi Paul, "Modern Poetry in China: A Visual-Verbal Dynamic" (2014), Cambria Press
- Vandermeersch Léon, "Histoire de l’écriture : de l’idéogramme au multimédia", pp.67~86 (2001), Flammarion
- Yeh Michelle, "Frontier Taiwan: An Anthology of Modern Chinese Poetry" (2001), Columbia University Press