Project X-ATRAMENTVM demonstrates our goal in reviving Chinese Traditional Painting in the new concept of X-ink.
The X-ink we presented, is a tribute to the cultural features of China’s Generation X. In comparison to Western Generation X born in the post-WWII period, China’s Generation is the first generation born in the post-Culture-Revolution period (late 1970s to late 1980s). This generation, in the eyes of their elders, could be a group of lost souls. However, just like their western predecessors, China’s X generation has their very personal ideas and insistences. They are the dissolution of Grand Narrations and the concentration of Public Concerns; they are the reevaluation of All Values and the Resurrection of Classics; they are the adoration of Exoticism and the preservation of Traditionalism; they are against the mainstream and a peculiar mainstream of their own. China’s Generation X is the vanguard in contemporary water-and-ink frontier, by their exploration on “what it is” and “what it could be” through personalized presentations.
The X-ink we recommended is a redefinition of various vague terms such as Experimental Ink and New Ink. These definitions and the group they stood for has their art root back in the tight period after the founding of P.R.C. They tend to face panicking and overdoing in response to the culture impact of re-open in the beginning of the 80s, or fell into extreme unorthodoxy and sensationalism in the waves of commercialization starting in the 90s. They generally lack a certain sense of Culture Security thus failing to achieve a more confident and unhurried art expression. Due to similar social dynamics, the corresponding theoretical analysis are presented too with haste, ignoring the spirit of generational transition as well as lacking power of vision on the level of global art history. Therefore, we propose X-ink as the spiritual resonance of China’s Generation X in traditional painting, to designate its Xperimentalism, “inXplicability“ and Xtraordinariness.
The X-ink, as we understand, does not hold the interaction with western culture as its major creative anxiety any more, nor the traditional language and material of water-and-ink as its creative methods. X-ink’s motivators destruct and reconstitute the forms and rules to establish a more aligning position with universalism, to create a more contemporary value system, as well as to revive the aesthetical motive of water-and-ink in witnessing the reformation of art. When traditional standard no longer serves the role of sole juror of water-and-ink creation, the composers of X-ink can then advance the frontier of this art form: continuing the exploration of the inner connection between ideas, skills and traditions on the basis of implementing new artistic methods such as device, video, cartoon among other popular culture elements.
The X-ink we insist on, is the continuation of AWB’s “Chinese Renaissance”. In its original context, Rinascimiento refers to the discovery and inheritance of lost culture spirit and art forms to the end of Culture Reborn. In light of this definition, the purpose of RENASCENTIA SINICA (Chinese Renaissance) is to explore, in Chinese context, the power of inter-generational connection, the expand of art discussion and the angle of reinventing traditions: roughly among 1400 and 1600, the Magisters of Northern Italy, Southern France and Flanders conducted many importance aesthetical experiments in reviving ancient arts, laying the foundation for the styles of the world in the next 500 years. X-ink, this ancient-yet-lively art form, should be a life-long honor to this great tradition by China’s Generation X “traditional artists”.