China: Ancient Symbolism in Contemporary Art

Mary Tregear writes in her book, "Chinese Art," that "the arts of a culture, however remote that culture may be from our own, are primarily to be enjoyed for their own sake....they often reflect a unique aesthetic standpoint which we must seek to understand if we are to deepen our initial response to the arts in question (emphasis mine)(1)." The importance of the visual arts in China has varied with the developments in the culture of China. Symbolism plays an important part of any world culture, but the cultures of the "Far East" have been infused with a set of symbolic motifs associated with nature, mythology, and religion. These motifs are charged with specific attributes intended to communicate ideas and information(2). Images and objects are often brought together to make a philosophical statement, and in everyday life utilitarian objects and articles of clothing will be decorated with auspicious symbols(3). Therefore, to understand and appreciate the contemporary Chinese art being presented today, we must seek to understand the symbolism used since the ancient times.

"Chinese culture has had a greater coherence over a longer period than that of any other civilization(4)". During the Ming and Qing (pronounced "Ching") dynasties in particular, "decorative objects depicting auspicious wishes were extremely popular(5)". Symbolism was also incorporated into word play, in the form of rebuses(6). The iconography may be similar or may be completely different from those symbols which are familiar to the West. For example, the lotus blossom used in a portrait of Buddha and a vase of lilies in a medieval painting are both used as symbols of purity. However, the dragon, as used in Western iconography, is seen as evil, while in Chinese art, the dragon is "a benevolent beast, the bringer of rain, a symbol of strength and goodness(7)." Other motifs of nature are also used, for "to the Chinese, man is never the center of the universe,...his life is neither superior nor inferior to that of the animals, birds, and plants(8)." As we look at the symbolism of Ancient China, we must attempt to understand the culture of the time.

As we look at contemporary Chinese art, it must be stated that the development of this art has been "closely associated with the political events and economic changes that swept through(9)" that region of the world during the twentieth century. In the early twentieth century, Japanese domination of Taiwan heavily influenced the art and educational system. The "literati"(10) styles of calligraphy and painting were the primary mode of expression. Traditional motifs were employed, although the "main thrust" behind art, especially for women artists, was "to highlight how the artists had surpassed ordinary concerns and symbolized their inheritance of cultural orthodoxies(11)." After World War II, Western influence was the origin of new "concepts, standards, techniques, and media(12)." Certain forms of art, such as ink painting, enjoyed official approval, and new art movements, such as the "wuyue" (Fifth Month) and "dongfang" (Eastern) Associations were established; these associations criticized traditional Chinese painting for stagnancy and advocated change(13). Women were allowed to teach art courses in either Western art or ink painting through the National Taiwan Normal University, even with the resurgence of traditional social norms which gave little respect to women's post-marital creative careers(14). During the 1970's, the United States severed ties with Taiwan and recognized the People's Republic of China. There was a resurgence of nationalistic sentiments as older artists re-evaluated their American influence(15). While Chinese ink painting, in particular, refers to the past, artists no longer follow the values of a certain art movement without question or debate. They now try different technical experiments, which have "given birth to some of the most interesting Chinese...paintings in Taiwan(16). The appearance of "studio art studies outside the main education system" form "an artistic current apart from the formal art education system," especially for women(17). Reworking of traditional syles, abstraction combined with traditional themes, naturalistic representations and chaotic forms, and traditional painting combined with 'nouveau monde' are all representative of contemporary Chinese art.

This web page was created as a research project for FAH 300, Multi-Cultural Perspectives in Art, Spring 1999, Senga Nengudi and Maya Avina, Instructors. The images used in this site may not be used for commercial purposes. Please check the Source List to access links which were used in the creation of this page.

© Annette Milligan 1999