As today is Chinese New Year, I thought I’d post a piece I’ve written about a piece of Chinese art. I must confess that this is something of a cheat as a ‘First Impressions’ piece, as I haven’t actually seen this piece myself, but it was written in the same way as my usual pieces, and I think it’s a great piece, by an artist perhaps not so well known to UK audiences. I’ve been lucky enough to take the course ‘Art in China since 1911’ as part of my undergraduate degree, which is fascinating, and covers so much art that was unfamiliar to me before, but am glad to have discovered.
You can see a picture of this work here… http://www.christies.com/lotfinder/prints-multiples/zhang-xiaogang-big-family-no-1-from-5050380-details.aspx , complete with the record of it selling for what would now seem a ridiculously small price for such a work.
The work is dominated by three figures, that of a man, a woman, and a small baby boy. The composition is cropped, we do not view all of the figures, we view the man and woman from chest height, with their shoulders cut off at either side, and the baby is viewed from about ankle height. The baby seems to hover in the air in between and in front of the two other figures, who the title and convention might suggest are his parents. The baby is differentiated from the other figures by the bright red hue given to his body, while his clothes maintain the monochromatic tones that are used for the other figures and the background. This use of colour is suggestive of black and white photography, an association strengthened by the poses of the figures, facing the ‘camera’, or the viewer, looking directly out from the painting. There is some blurring around the edges of the figures, particularly around the woman’s plaits, and in the background, which is just that in that it does not convey any particular sense of space, or a particular setting, acting instead as a generic background for the figures in front, perhaps suggesting the backdrop of a photographer’s studio, or a rendered or painted wall. The cropping of the figures adds to this sense of them being in an indistinct space, as we do not see points where they would link with it (e.g. where their feet touch the ground).
The surface of the painting is interrupted by a series of red lines, which sit wire-like on the surface of the painting, joining over the baby and the figures behind it. Thus a sense of flatness is created, the depth created by the over-layering of the figures is negated, and we again are given the sense of this being a photograph. Their clothing is carefully detailed, with precise brushwork to denote crisp collars and neat lapels, while we are given some idea of the man’s profession or status by the pen tucked into his jacket pocket, suggesting that he is a ‘white collar’ worker, while glasses were accepted as a sign of the intellectual, or at least educated, individual. The figures do not seem to acknowledge one another, except in the woman’s slight lean into the centre, and the slight turn of both figures’ outside eye in towards the centre. Aside from the baby’s red hue, there are also patched of slightly brighter colour on the other figures, with patches of pinkish tones over their faces and neck, but again, the way in which the colours cut across them, covering the glasses, and her clothes, for instance, suggest that this is supposed to evoke the effect of a fading photograph. However, its meaning could be multiple, and it could be present to suggest the humanity behind these monochromatic facades. The eyes of all three figures are picked out in precise lines, contrasting with the blurring of their other features, and are painted in a darker, shinier shade of black, which gives them an unnervingly piercing quality, and which immediately draws the gaze of the viewer. The baby’s slightly furrowed brows are the only hint of definite expression in the figures, the adults have expressions that are hard to read, deliberately open to interpretation.
The title, ‘Bloodlines’, could be a specific reference to the importance of one’s family connections during the Cultural Revolution, be they harmful or helpful, and can also link to the thin red lines across the canvas. The Bloodlines series is usually large in scale, emphasising the striking and unnerving qualities of the figures. The red chosen for the child could relate to a number of different ideas, the most obvious being the red of Communism, but red was also traditionally associated with good luck, which coupled with the child’s troubled expression, leads one to wonder the significance of the connection between these two associations. The inclusion of a single child could bring to mind the one child policy in China, but I think it’s important to recognise the potential for a multiplicity of meaning.