Yao Tao’s paintings are hard to classify: they don’t belong either to Western watercolor, or to traditional or contemporary Chinese ink-brush painting. A loner who follows his own instincts, for Yao Tao, art is a meant to serve God, rather than an end to life. He believes that the point of making art is neither to flaunt oneself, nor to please women, as Lord Byron’s romantic poems intended. Using water and ink, Yao Tao creates a world full of hazy yet enchanting visuals that dazzle the viewer, putting one in a hypnotic, dream-like state. Mystery is one characteristic that makes his work unique; subjects and forms in his paintings defy precise identification: dress style, color, sex, the subjects’ mannerisms and their respective locations are all difficult to distinguish. Figures, backgrounds and props all seem integrated into one; instruments they play can be modified at will. All of these elements are woven together by blocks, lines, colors and water to form a beautiful whole.
Chinese rice paper has special hydrophilic properties that allow liquid ink to penetrate to various degrees and intensity, forming illusions of textures and depth. The potential to create such effects also makes this medium notoriously difficult to master, requiring of its users years of practice. Historically, rice paper became the main material for Chinese painting only after the Yuan Dynasty (around the mid-thirteenth century). Prior to that time, most paintings in China were done on silk. Although his early interest was in western art, Yao Tao has long been intrigued by the special properties of rice paper.
In 1988, Yao Tao entered the prestigious Zhe Jiang Academy of Fine Arts[1], (the alma mater of famous Chinese artists Zhao Wuji, Wu Guanzhong and Pan Tianshou. Yao Tao was proud to have these great masters as alumni, particularly since he had had no art training until his last two years in high school. While his major was in Chinese figure painting[2], he spent long hours in the library reading about European art. Living mostly in solitude, Yao Tao’s thoughts were inundated with dazzling colors, free form shapes and various styles of expressions abundant in western artwork. He was particularly interested in the work of late nineteenth and early twentieth century European masters Cézanne, Picasso, Klimt and Modigliani. He was addicted to oil painting until he began making attempts to combine western forms and styles with traditional Chinese media and concepts.
Cultural and ideological influences from the west set in motion the avant-garde movement that quickly became a new trend in China’s art circles. Yao Tao, like other young artists of the time worshipped western art. Eventually, turning his attention back to the work of his ancestors, he returned to his roots, believing that blindly abandoning tradition was a sign of naivety and impetuosity. He now prefers painting to be simple, rather than burdened by deep, perplexing rationales. Painting, like all other art forms, is a product of human intelligence. Its creativity cannot surpass that of God. Yao Tao aims to go back to what is basic.
Yao Tao had not carefully studied Chinese tradition, but has a natural flair for mastering the essence of traditional art. He paints spontaneously, without the need for drafts or planning, thus the characters in his paintings are incisively and vividly portrayed. He also borrowed free form method from European paintings, carefully increasing intensity of colors and manipulating their effects on rice paper, while meticulously observing the various results. Traditional Chinese art is different from western art in its more limited use of color and an emphasis is on “inner quality” rather than external display. Traditional Chinese artists never follow strict human anatomy or use scientific perspective. As Mencius[3] stated, “It’s not that these artists are unable to paint realistically; they prefer not to.” A famous poet of the Northern Song Dyanasty, Su Dongpuo[4] used to say, “If paintings are to be judged by how realistic they appear, then the judge’s viewpoint is not different from that of a child.” Contemporary master Qi Bai Shi similarly believed “the marvel of a painting lies between likeness and unlikeness.” That’s how traditional Chinese painting can show lifelike characters without paying strict attention to anatomy, how it can display depth in landscape without the use of perspective. Shi Tao’s (1642-1707)[5] landscape paintings are fundamentally different from that Camille Carot’s (1796-1875), for example. A landscape painting using traditional Chinese methods can display greater depth of scenery than a strictly realistic perspective would allow. If the artist wills it, he can paint hundreds or thousands of miles of scenery on a mere square foot of paper. A western landscape artist using classical perspective must first find a line of perspective and paint everything strictly within one field of vision. For a long time Yao Tao has reflected on these differences. He believes his ancestors did not completely exhaust the potential of rice paper because of their overly rigid adherence to traditional methodologies.
Traditional Chinese paintings stress “artistic conception” – where the soul, or spirit of the painting emerges on paper. In order to reach this stage, artists must be more creative than modeling straight from nature. Ink and brush are the basic means to achieve this. The brush forms lines and ink forms shape and color. The wetness of the brush, the intensity of the ink, the thickness of the lines, and composition of various elements are combined to create shapes, layers and depths, leading to a harmonious, synergistic whole. Thus, scientific concepts such as anatomy, light and perspective become secondary. As a result, traditional Chinese painting developed its own unique rules and techniques, which define and distinguish traditional painting from other forms of art. Painting can be analogous to ballet dancing: there are many unique techniques and requirements a ballet dancer to follow. If ballet dancers abandon these rules in order to express themselves more freely, the dance will necessarily be transformed.
Since 1990 Yao Tao has experimented in breaking though traditional norms of painting while utilizing the full potential of rice paper and preserving the soul of this Chinese art form. During his years of experimentation at school, he created some extraordinary work that even he himself can not copy. Although he wasn’t the only one experimenting, no one else thought rice paper could lead to such fantastic results. Yao Tao was very particular about composition and creating a sense of movement. One brush stroke more or less would affect the overall quality. The figures seem alive and moving. All strokes and effects were intentional, none accidental. The only thing that wasn’t intentional was the methodology used. Just as Dai Xi[6] said, “there is no correct way to paint, nor can it be learned. Simply express what is in your heart.” (Dai Xi Selon lequel “la peinture est fondamentalement sans règles et ne peut s’apprendre. Elle consiste uniquement dans l’ expression des élans du cœur.”)
Xie He’s[7] Six Canons of painting were not intended to limit artistic expression ("La consonance de l'Esprit engendre le mouvement (de la vie)") but rather to enhance it as explained in its First Principle, “Circulation of vital force (spirit) produces movement of life”. Shi Tao’s statement that “techniques should reflect current culture” has been held in great esteem by pioneering artists. However, modern teaching in Chinese art schools usually requires rigorous training and strict adherence to traditional techniques, such as various complex brush stroke rules and theories, like “drawing is the basis of form modeling”, etc. To Yao Tao these antiquated techniques and theories are mostly nonsense. At one point he had been unable to paint for three years, but when he picked up the brush again it didn’t feel at all unfamiliar. His most respected teacher Wu Yongliang once autographed one of Yao Tao’s paintings, saying, “the marvel of a painting lies in its soul, not in its techniques.” Artistic conception is far more important than methodology. “One would rather paint without any standard methodology than to create a lifeless painting.”[8] Yao Tao was surprised that Master Shi Tao called his own work “Ten thousand dots of ugly ink.” While standard technique calls for “using ink sparingly,”[9] Yao Tao intentionally “spilled ink like dirt.” Still he considers his work not modern at all, but most conservative. His paintings are like ancient masters’ work – except he has broken through boundaries and released the old artistic essence, by adding some western elements to form a new style of art.
Yao Tao graduated from school in 1992 as a bachelor of fine arts. He has been employed as department store sales person, an art teacher, and as a public relations manager at an advertising firm. He believes that a truly good piece of artwork needs no florid language to boast about it, nor can its value be elevated by power and affluence. Civilization is a practical joke by Satan. Art is not a necessity, so artists are not necessary either. Thus an artist’s life is usually much tougher than people of other professions. “Modigliani had only one exhibition in his life,” Yao Tao often says to himself, “ Even if I will never be known, I will not stop innovating and improving my art”.
[1]Zhejiang Academy of Fine Arts - Established in 1928 at Hang Zhou, by China’s famous educator Cai Yuanpei. Initially named National Arts Academy, now known as
China Academy of Art . Many renowned Chinese artists such as Zhao Wuji and Wu Guanzhong came from this school. Famous masters such as Lin Fengmian and Pan Tianshou were deans of the school. Yao Tao’s uncle Yao Youxin who was a renowned portrait artist, also graduated from here. His father Yao Youduo, went to another famous art school – The Central Academy of Fine Arts and was a professor there.
[2] Traditional Chinese paintings are grouped by subjects: figures, landscapes, plants-and-birds.
[3] Mencius (372 – 289 A.D.) - Ancient Chinese philosopher. One of the most influential exponents of Confucius ideology.
[4] Su Dongpuo (1037 – 1101) - Writer, poet and painter lived in North Song Dynasty. Su was talented in many areas and was considered very influential in literary and artistic things.
[5] Shi Tao (1642 – 1707) - A member of the nobility from the late Ming Dynasty, Shi Tao lived as a artist during the early Manchu Dynasty. He was well versed in landscape and flower paintings, as well as calligraphy and stamp making. He was very influential in contemporary and modern Chinese art.
[6] Dai Xi (1801- 1860) – a painter from the Manchu Dynasty. Held prominent governmental positions before retiring. He was an expert in landscape, flowers and bamboo-and-stone paintings. He studied from several masters of the time.
[7] Xie He (lived approximately 400 – 500) - The most talented painter and art theorist during the Nan Chao Qi Liang Dynasty. His Six Canons of painting were recorded in his famous book, “Record of the Classification of Painters.”
[8] According to an ancient poem, “One would rather eat without meat, then live without bamboo around his house.” This expression indicates the importance of living a spiritual but simple life.
[9] “Use ink sparingly” is a technique in traditional Chinese painting.