Throughout the course of the twentieth century, trends in Western art—from modernism to postmodernism—have had an enormous and sometimes revolutionary impact on the world of Chinese painting. In the field of ink painting, it has inspired such diverse creative trends as “new literati style,” “abstract ink,” and “experimental ink” paintings. It remains to be seen whether or not these trends will become established as the mainstream of Chinese painting in the future, or whether there will even be a “mainstream” of Chinese painting in the future—but I believe that these questions are unimportant. Since practice is the only foundation for knowledge and the only standard by which to verify truth, at present there is no need for us to come to any hasty conclusions. Only with the test of time will we be able to more clearly see how these trends will develop in the future.

        The most significant impact of Western modernism was that it brought the traditional unidirectional mode of thought to an end, and introduced the possibility of multi-directional, nonlinear approaches. This important development has had ramifications in almost every aspect of twentieth century life and art. It is also clear, however, that the whole system of Western art and that of Chinese ink painting—with its more than two thousand years of history—are like two trains on tracks running in different directions. The development of Western modernism, in point of fact, resulted in large part from the influence on Western painters of the abstract artistic modes of thought that were then prevalent in the East; this influence transformed the expressive style common in Europe that emphasized scientific, naturalistic representations; and the theories of both Western modernism and postmodernism have, in turn, inspired new questions and new directions in the field of Eastern ink painting. This history demonstrates that only through exchanges and clashes between different cultures can new modes of thought be sparked; and it is the impetus provided by these new sparks that can reignite and replenish the life force of the traditions of each.

        Macao was the first place in China that came into full contact with Western painting. The origins and history of these cross-cultural encounters date back several hundred years here. This cultural and historical environment must have influenced the course of Wong Kin I’s creative development. Many years ago, Wong Kin I came to Macao from mainland China, where he had studied under the renowned Chinese painting master Lu Yanshao, under whose tutelage he gained consummate skill in the basic techniques of traditional brush-andink painting. Indeed, while Wong was still a student, Master Lu expressed his approval of Wong’s work by inscribing on one of his paintings, “Wong Kin I’s splash ink method.” After living and working in Macao for a period of time, influenced by Macao’s multicultural atmosphere, Wong underwent a metamorphosis of sorts in his artistic explorations, developing a highly personal splash ink method. He went on to become one of the few Macao artists who is also an influential figure in the ink painting world of mainland China.

        The question that the current trend towards “globalization” poses to us is whether this constant interplay of Western and Eastern artistic theory will cause these two trains to converge towards the same track, or to keep moving on divergent tracks extending ever farther in opposite directions. The more immediate question that faces all artists working today is how to maintain their own cultural identity in the midst of an atmosphere of intensified cross-cultural flows. Wong Kin I has clearly shown us the importance of maintaining one’s own cultural identity in today’s environment of “globalization,” and of always preserving, even in a creative process that seeks constant innovation and change, a clear sense of one’s cultural roots.

        In the new historical era that Macao has recently entered, how Macao artists can make the most of their unique historical and cultural strengths in order to expand Macao’s “field of vision,” to bring a new spirit of experimentation to China and even to the world, and to assert the unique value of Macao’s artists, are questions that every contributor to Macao’s art world should contemplate. I hope this exhibition may provide an inspiration for everyone to address such questions, to have the courage to explore and experiment without fear of failure, and to strive to create artistic works that are fresh and new and have a distinctly Macao character.

Cultural Institute of the Macao S.A.R. Government
Visual Arts Coordinator, Chan Ieng Hin