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Zeng in Australia

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Zeng in Australia A MIGRANT’S PROGRESS: ZENG IN AUSTRALIA LUPING ZENG MASTER OF FINE ARTS BY RESEARCH (MFA) SCHOOL OF ART COLLEGE OF FINE ARTS UNIVERSITY OF NEW SOUTH WALES May 2013 1 TABLE OF CONTENTS ACKNOWLEDGMENTS 4 ABSTRACT 5 CHAPTER ONE: INTRODUCTION 1.1 Background to the Study in Australia 7 1.2 Chinese Background 7 1.3 Migration to Australia 10 1.4 Contribution to Australia’s Cultural Life 10 1.5 The Uniqueness of Personal Vision 12 1.6 European Artists in Australia 12 1.7 Formative Australian Influences 15 1.8 The Influences of Chinese Artists in China 17 1.9 The Influence of Chinese Australian Artists 22 1.10 Outline of the Thesis 26 CHAPTER TWO: CONTEXT AND LITERATURE REVIEW 2.1 Chinese Traditional Painting 28 2.2 Chinese Education for Artists 38 2.3 The Philosophy of Chinese Art and Yin‐Yang 40 2.4 My New Philosophies 43 2.5 The Sense of Yin‐Yang 47 2.6 Yin‐Yang Implications for My Painting 48 2.7 The Considerations for My Creations 49 2 CHAPTER THREE: METHODOLOGY 3.1 The Intention 52 3.2 The Process 55 3.3 The Symbolism 64 3.4 The Chinese Reflection 78 3.5 The Western Influences 81 3.6 The New philosophy 87 3.7 My laws of art based on Yin‐Yang 96 CHAPTER FOUR REFLECTIONS 4.1 Past Personal Approach for Art Practice 119 4.2 Chinese Approach for Art Practice 122 4.3 Australian Approach for Art Practice 123 4.4 Current Approach for Art Practice 124 4.5 Personal methodologies in studio background 125 CONCLUSION 127 REFERENCE LIST 132 3 ACKNOWLEDGMENTS My MFA would not have been possible without the support of many people. I would like to thank my academic supervisor for my Master of Fine Arts (MFA) Dr. Vaughan Rees, for his expertise and for his encouragement in the creation of 'MY BEST' dissertation. He is a great supervisor. I also want to thank my Fine Arts school's Head: Ms Sylvia Ross for the seminar to establish my specific research goals in review. I am grateful to my learning advisor of the Learning Centre: Ms Helen Farrell, for her wonderful support in my dissertation both academic guidance and writing skill. I would also like to thank all the staff of COFA. 4 ABSTRACT My current field of research explores personal experiences of immigration and integration within Australian society often with a humorous narrative, but trying at all times to be poignant. My painting provides an analysis of both the psychological and cultural realities of immigration to Australia – as one that importantly questions many current ideas. The structure of the Master of Fine Arts by research also provides an opportunity to refine my theoretical and thoughtful groundings and to significantly develop my writing. Developed through research studies, I believe my project could be a convincing contribution to both visual culture and importantly to wider community discussion relating to immigration in Australia. My research is based on myself as an immigrant, relating to my new surroundings, from an immigrant’s perspective, and interrogating my relationship with the Australian environment and culture. Both the psychological and cultural interrogation will also reflect the unavoidable clash of values intrinsic to immigration. The project is concerned with cross‐cultural issues: my research explores specific cultural and social perspectives of China and Australia. I created works that allow the Chinese techniques of painting, which I learnt in China, and Courbet’s oil techniques to become transformed and altered through my exposure to Western techniques and culture. I use the Chinese Confucian1 Yin‐Yang2 philosophy as a tool to explore the Chinese and Western artistic influences. Finally my research examines how each of these factors culminates in my own personal philosophy of “Non‐Philosophy”. This research project can be described as using figurative painting as an appropriate contemporary vehicle for investigating immigration and cultural frisson. I use these elements in the new culture: to contribute a strong justification for my research. My painting also brings challenges to contemporary thought, questions my relationship with my new surroundings 1 Confucius (551–479 BCE) was a Chinese teacher, editor, politician, and philosopher of the Spring and Autumn Period of Chinese history. 2 Yin and Yang is one of the most fundamental concepts in Traditional Chinese Medicine, as it is the foundation of diagnosis and treatment. 5 and establishes a visual dialogue between notions of isolation versus participation within Australian culture. Formally, it encourages the viewer to consider the relationship between myself (isolated as an immigrant), and Australian society. From an existential viewpoint, this emphasis considers my relationship within a global society. 6 CHAPTER ONE: INTRODUCTION 1.1 Background to My Study in Australia My background to this study involves both a new environment, Australia and my country of birth, China. As an immigrant from China and a figurative painter, my knowledge and conceptual understanding is derived from the perspective of Chinese culture3. Currently, I am living in Australia and I am immersed in Western culture4, its art concepts and customs. I am very interested in many aspects of life in Australia as everything here is new, and I am conscious of numerous interesting subjects for my work. Simultaneously, I am influenced by the Chinese belief in education, which is held by every Chinese family, and can be attributed to the strong influence of Confucian beliefs. Chinese students consider it their responsibility to enhance the reputation of their family through intensive study and eventual success. Furthermore, my own belief is that education is a honourable way of living in and understanding Australia. 1.2 Chinese Background One of the main influences on Chinese society is the Chinese political system5 represented by a single‐party socialist republic. There are many different cultural groups in China today. The best example of cultural grouping is the Han Chinese6. Over the past (from 206 BC to now), many groups have been 3 Chinese culture is one of the world's oldest cultures. The area in which the culture is dominant covers a large geographical region in eastern Asia with customs and traditions varying greatly between towns, cities and provinces. Important components of Chinese culture include literature, music, visual arts, martial arts, cuisine, etc. 4 Western culture is a term used very broadly to refer to a heritage of social norms, ethical values, traditional customs, belief systems, political systems, and specific artefacts and technologies. 5 Chinese political system is the political structure, fundamental laws, rules, regulations and practices that are implemented in Chinese mainland that regulate the state power, government, on the relationships between the state and society in the People's Republic of China since its foundation in October 1949. 6 Han Chinese is an ethnic group native to East Asia. 7 incorporated into one civilization. Whilst there are many cultures incorporated within the Han identity7, they have upheld one cultural tradition. Chinese beliefs are incorporated into familial rites and are also a guide to future generations who would strive to live up to their ancestors' glory. Tradition stems from the philosophy of Yin‐yang theory, Confucius, Laozi8, and Buddhism9. Valuing the intrinsic richness of lasting education is an essential consideration of the essence of the Chinese beliefs, which are indisputable aspects of Chinese cultural behaviour and history. These cultural influences have become a guiding principle for many individuals, including myself. Significant artistic influences on my artistic development began with the commencement of my study for a Bachelor of Fine Arts (B.A) degree at the China Academy of Fine Arts in Hanzhou, in 1985. My major project was oil painting in the European tradition; my study especially was focused on the art of the nineteenth century French realism artists Gustave Courbet10 (1819‐77), Jean‐Francois D. Millet11 (1812‐67), and Jean‐Baptiste‐Camille Corot12 (1796‐ 7 Han identity is the People’s Republic of China; fifty‐six ethnic groups combine to form a major part of the Chinese nation. 8 Laozi was a philosopher of ancient China, best known as the author of the Tao Te Ching (often simply referred to as Laozi). His association with the Tào Té Chīng has led him to be traditionally considered the founder of philosophical Taoism. He is also revered as a deity in most religious forms of Taoist philosophy, which often refers to Laozi as Taishang Laojun, or "One of the Three Pure Ones". 9 Buddhism is a religion indigenous to the Indian subcontinent that encompasses a variety of traditions, beliefs, and practices largely based on teachings attributed to Siddhartha Gautama, who is commonly known as the Buddha. The Buddha lived and taught in the eastern part of the Indian subcontinent some time between the 6th and 4th centuries BCE. Buddhists recognize him as an awakened or enlightened teacher who shared his insights to help sentient beings end suffering through eliminating ignorance by attain the highest happiness. 10 Jean Désiré Gustave Courbet (10 June 1819 – 31 December 1877) was a French painter who led the Realist movement in 19th‐century French painting. The Realist movement bridged the Romantic Movement (characterized by the paintings of Théodore Géricault and Eugène Delacroix) with the Barbizon School and the Impressionists. Courbet occupies an important place in 19th century French painting as an innovator and as an artist willing to make bold social commentary in his work. 11 Jean‐François Millet (October 4, 1814 – January 20, 1875) was a French painter and one of the founders of the Barbizon school in rural France. Millet is noted for his scenes of peasant farmers; he is associated with the naturalism and realism movements.
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