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

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

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

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.

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.

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.

12 Jean‐Baptiste‐Camille Corot (French pronunciation: July 17, 1796 – February 22, 1875) was a French landscape painter and printmaker in etching. Corot was the leading painter of the Barbizon school of France in

1895). At that time the university selected these European artists for education, because their works are the representation of realistic oil painting skills. These painters represented nineteen‐century Western realism, which was chosen by the Chinese Art School as a “Chinese Renaissance” for education within fine artists. I chose Realism because I wanted to learn the essential basis of European oil techniques to further my art composition and to really appreciate the nature of Western contemporary visual art: the ideas that exemplify the clash and differences between the East and West. I was simultaneously exploring Chinese artists, for example, Ba Da Shan‐Ren13 (1626‐1705), Zhang Zeduan14 (1085‐1145) and Zhao Ji15 (1082‐1135). As I learned more about the skill of Chinese traditional painting, I gained understandings to compose items using Eastern and Western painting techniques to further my art and cultural development. I researched Yin‐Yang as well, as a concept Yin‐Yang could be applied to my artistic ideas. They were the major exponents and subjects of study for me, and to achieve success I had to paint in the style of the aforementioned artists. Thus my bachelor degree was important and formed the beginning of my appreciation of the cultural clash between East and West and became a major challenge to my creativity insights and to the exciting possibilities of new future artistic interpretations. I want to create works that become transformed and altered through my exposure to Western techniques and culture. This approach has had a profound effect on the way I perceived my art making.

the mid‐nineteenth century. His works were simultaneously references the Neo‐Classical tradition and anticipates the plein‐air innovations of Impressionism.

13 Bada Shanren (born Zhu Da ca. 1626—1705) was a Chinese painter of shuimohua and a calligrapher. He was of noble lineage, being a descendant of the Ming dynasty prince Zhu Quan. Art historians have named him as a leading painter of the period.

14 Zhang Zeduan (1085 — 1145), alias Zheng Dao, also sometimes translated as Zhang Zerui, was a famous Chinese painter during the twelfth century, during the transitional period from the Northern Song to the Southern Song Dynasty, and was instrumental in the early history of the Chinese art style known as Shan Shui.

15 Emperor Huizong (November 2, 1082 – June 4, 1135) besides his partaking in state affairs that favored the Reformist party was a cultured leader who spent much of his time admiring the arts.

1.3 Migration to Australia

The background to my immigration was the new Chinese government’s desire in Deng Xiaoping’s time16 (22 August 1904 – 19 February 1997) to continue the political ideology of the Cultural Revolution (c 1978) and to advance China’s engagement in the capitalist world. In June 10, 1986 Deng Xiaoping urged:

Look now, not to engage in the reform of the political system because it cannot adapt to the current financial and cultural needs of China's situation. Political restructuring should however be included in Reform, and should regard new initiatives as a sign of progress in the Reform (Deng 1993, p.160).

Under Xiaoping's new directions I was permitted to apply for migration to Australia. I was accepted for immigration on the basis of my artistic ability. Personally, my immigration was a situation of internal ‘revolution’ – as my definition of revolution is one of personal transformation, something at odds with the Chinese government’s vested ideological interests in ‘revolution’. Immigrating to Australia was the best way for me as an artist to transform and develop my art philosophies as well as to improve my art career. An important aspect of immigration for me was the possibility of achieving my ambition to bring Chinese culture to Australian audiences.

1.4 My Contribution to Australia’s Cultural Life

I will investigate my specific experience with Australian culture17, which is imbued with my Chinese heritage. A major part of this heritage is specifically

16 Deng Xiaoping (22 August 1904 – 19 February 1997) was a politician and reformist leader of the Communist Party of China who led China towards a market economy. He served as the "paramount leader" of the People's Republic of China from 1978 to 1992, and had an influence on every aspect of life in China.

17 Australian culture is essentially a Western culture influenced by the unique geography of the Australian continent, the diverse input of Aboriginal and Torres Strait Islander peoples, the British colonization of Australia which began in 1788, and the various waves of multi‐ethnic migration which followed. The predominance of the English language, the existence of a democratic system of government drawing upon on British Westminster and American constitutionalist and federalist traditions, Christianity as the dominant religion and the popularity of sports such as cricket and rugby all evidence a significant Anglo‐Celtic heritage.

10 the philosophy of Yin‐Yang. This philosophy is extremely pertinent to my own practice of art and to the tradition of painting in China itself. For example, the nature of Chinese Yin‐Yang encompasses the diversities within Eastern civilization and creates productive connections between opposites which allow me to bring its perspective to bear on a culture that is radically different from my own. There are arguments about what is perceived in scenes and the connection between opposites is discussed by Stangos (1979) essay. He argues that:

All textual matter comes from that Yin‐Yang, which remains the standard work on the artist up to the approach of its philosophy. Its detailed commentary on individual works skill represents unique source for information about the artist’s thoughts and artistic processes (Stangos 1979, p. 13).

My research aims to explore ways of viewing and articulating with Australian culture that emerges out of my understanding and practice of Yin‐Yang philosophy. My research explores the differences between the cultural and social perspectives of China and Australia, and attempts to sustain a meaningful dialogue between the two. Within a specific compositional mode, one can investigate the interaction of opposite elements. One example would be to capture the circulation of the many different cultures that constitute Australian society using a Chinese frame of reference. My use of the Chinese Yin‐Yang, as it is ‘transmitted’ to Australian society, can be considered in terms of an Eastern cultural element conversing with its opposite.

One of the formative propositions of this project is creating an aesthetic space for this dialogue to make sense of what might otherwise be mistaken for cultural babble. Thus Yin‐Yang can provide a kind of framework to envisage a meaningful cultural conversation, in an environment that is defined mostly by its non‐uniformity.

I propose to bring my unique Chinese culture to multi‐cultural Australia where it will develop further with the influence of Australian culture. The Aim of the Research is to explore:

1. The differences of the opposite elements in any specific compositions in my art.

2. The connections, which my approach to art finds between these opposite elements.

As an overall hypothesis, my research will investigate whether figurative painting is an appropriate contemporary means to explore immigration and cultural frisson. I wish to reflect on these concepts from the different perspectives of China and Australia.

1.5e Th Uniqueness of Personal Vision

The unique vision of my work is that it brings into focus my relationship with my new surroundings and notions of isolation versus participation within Australian culture. Formally, it establishes a visual dialogue and encourages the viewer to consider the relationship between myself (isolated as an immigrant), and my interaction with Australian society. From the immigrant’s viewpoint, the emphasis is more on consideration of my relationships within the broader society. For example, my new approach is that “Philosophy” or method and “Non‐Philosophy” or passion is detected through my research, thereby giving the link with the philosophy of art in the Chinese Yin‐Yang theory. This undertaking is the unique vision of my work in Australia to be explored further.

I want to create a unique vision for my art by showing stories, which span the past (Chinese traditional civilizations) and today (contemporary Australian), thus demonstratinge th differences between old China and new Australia.

1.6 European Artists in Australia

My paintings are influenced by the 19th century Australian artist Thomas William Roberts18(Tom Roberts), who emigrated from England to Melbourne in 1869, and brought Impressionism to Australia as his unique contribution (Figure 2). There are similarities between Roberts and me, which involve our

18 Thomas William "Tom" Roberts (9 March 1856 – 14 September 1931) was a prominent Australian artist and a key member of the Heidelberg School.

12 positions as immigrants to Australia, but we live in a different time period and in different circumstances. I wish to pursue Roberts’s practice of incorporating his historical (Figure 1) and cultural background into his Australian paintings.

Figure 1: Roberts, T MAY 9 1901 (1903), R OPENING OF THE FIRST PARLIAMENT OF THE COMMONWEALTH OF AUSTRALIA BY H.R.H. THE DUKE OF CORNWALL AND YORK, (LATER H.M. KING GEORGE V), oil on canvas, 304.5 x 509.2 cm, On permanent loan to the Parliament of Australia from the British Royal Collection, Courtesy of Parliament House Art Collection.

Impressionism is used within my current compositions, which are influenced from Roberts’ skills of oil painting and his application of Impressionism from a European context that was developed in Australia. However, I would be introducing Yin‐Yang and making an attractive transformation through

producing paintings with my new art approach of “Non‐Philosophy” 19 to Australia. For example, Roberts contributed his uniqueness to Australian art and I, too, contribute to Australian art by combining Chinese Yin‐Yang with European oil skills. My painting “Beauty” (Figure 3) shows how applying pure colour, light and forms within my new approach “Non‐Philosophy” produces a fresh visual dialogue with its vividly coloured and dynamically painted depictions of contemporary people in Australia.

19Non‐Philosophy: I create works that allow the Chinese techniques of painting which I learnt in China, to become transformed and altered through my exposure to Western techniques and culture. I use the Chinese Confucian Yin‐Yang philosophy as a tool to explore the Chinese and Western artistic influences.

Figure 2: Roberts, T 1888, An Australian Native [Portrait of a lady], oil on canvas, 27.2 x 76.2 cm National Gallery of Australia, Canberra.

This artistic technique of impressionism and form applies as much today in contemporary Australia, appealing to communities who differ in their artistic conventions due to their immigrant experiences. One of the reasons for the wide‐ranging attraction of Yin‐Yang lies in the fact that it does not grow out of Australian homogenous perspectives of culture; rather the Yin‐Yang’s idea (imagination) is combined with Western formulated philosophies.

Figure 3: Luping Zeng 2012, the detail of Beauty, oil on canvas.

1.7 Formative Australian Influences

From May 2002 I lived on the Gold Coast in Queensland and one of my immediate desires was to participate in Australian society. During this period I was constantly preoccupied with finding ways to integrate into the Australian community. As an ‘outsider’ I was trying to become an ‘insider’.

In 2004 I moved to Brisbane, to study English at the South Bank Institute of Technology. This experience provided me with a growing understanding of culture and language. In 2009 I was awarded the Diploma of Architectural Building Design from the South Bank Institute of Technology. This completed the next step in my journey of integration into Australia’s artistic society from which to develop my broader appreciation of concepts, of spatial relationships, perspective and form.

In 2010 I completed the Master of Arts in Visual Arts degree at Queensland College of Art at Griffith University. The contribution of this study to my

15 thinking and practice was I used “A Rakes Progress20” to narrate a story, with humour, about my experiences in new surroundings. My idea was to add comedy to what would be a motivating visual story. I conceptualized my proposal as an opportunity for telling interesting visual stories.

This was a fundamental insight into using Chinese Yin‐Yang art theory as a theoretical framework for my narrative “A Migrant’s Progress: Zeng in Australia”. Recently view (2005) has written about the Chinese Yin‐Yang art theory. There have been numerous investigations of the different culture and experts of the Chinese Yin‐Yang art theory, for example, “Yin‐Yang, Wu‐Xing21 and the principle of art”.

Yin‐Yang, Wu‐Xing theories have promoted the development of theoretical thinking in ancient Chinese painting (Jin 2005, P. 46).

In 2011, I undertook research to investigate the differences between visual representation of cultural and social perspectives between China and Australia. This research is an amalgam of the past and present exploring contemporary themes, which have also influenced my work. Questions and issues that emerged during the early part of my candidature are now being addressed and new challenges are being met. Finally my research will examine how each of these factors culminates in my own personal philosophy of “Non‐Philosophy”.

My research also explores the different cultural and social perspectives between China and Australia. I create works that allow the Chinese techniques of painting, which I learnt in China, including Courbet’s oil techniques to

20 A Rake's Progress is a series of eight paintings by 18th century English artist William Hogarth. The canvases were produced in 1732–33, then engraved and published in print form in 1735. The series shows the decline and fall of Tom Rake well, the spendthrift son and heir of a rich merchant, who came to London, waste all his money on luxurious living, prostitution and gambling, and as a consequence was imprisoned in the Fleet Prison and ultimately Bethlehem Hospital, or Bedlam. The original paintings are currently in the collection of the Soane Museum in London.

21 Wu Xing is a fivefold conceptual scheme that many traditional Chinese fields used to explain a wide array of phenomena, from cosmic cycles to the interaction between internal organs, and from the succession of political regimes to the properties of medicinal drugs. The "Five Phases" are Wood, Fire, Earth, Metal, and Water. This order of presentation is known as the "mutual generation" sequence.

16 become transformed and altered through my exposure to Western techniques and culture.

1.8 The Influences of Chinese Artists in China.

Gu Kaizhi influences me as one Chinese artist, who was living in the Dong Jin Dynasty (344 ‐ 406 AD). His work “Wise and Benevolent Women”(Figure 4) is a Chinese narrative painting on silk which is one of the earliest existing examples of a Chinese hand‐scroll painting22 and is celebrated as one of the most famous Chinese paintings in the world. For example Figure 5, appropriates some aspects of Gu Kaizhi's work, “Wise and Benevolent Women” (Figure 4), structural model in my painting “Advanced Education”.

Figure 4: Gu Kaizhi 344 ‐ 406 AD, Wise and Benevolent Women, Dong Jin Dynasty.

22 Chinese handscroll painting is the handscroll, a continuous roll of paper or silk of varying lengths on which an image has been painted, and which, when not being viewed, remains rolled up.

Figure 5: Luping Zeng 2012, Advanced Education, oil on canvas, 124 x 92 cm.

These narratives were episodic, showing the way education was used to inform Empress Jia23. Gu Kaizhi depicted anecdotes about exemplary behavior of historical palace ladies. For Gu Kaizhi, education was essentially integrated into activities of daily living more general scenes showing aspects of palace life.

In my painting I wish to pursue Gu Kaizhi’s notion of the centrality of the eyes as a window to a person’s character, emotions and spirit, and to make the story of my research about the experience of the immigrant’s growth and re‐ establishment in a new environment (Figure 6).

23 Empress Jia Nanfeng (257–300) was the daughter of Jia Chong and first wife of Emperor Hui and also the granddaughter of Jia Kui.

Figure 6: Luping Zeng 2012, the detail of Advanced Education, oil on canvas.

Figure 7: Luping Zeng 2013, PM Gillard Honours US War Deal, Oil on canvas, 123 x 91 cm.

I am also influenced by another artist Gao Kegong (1248–1310) born during the Yuan dynasty (1279–1368)24 , and known for his landscapes. For example, my painting “PM Gillard Honours US War Deal” (Figure 7), the landscape of the background is appropriated from Gao Kegong’s painting “Evening Clouds” (Figure 8) which portrayed a dense evening mist combined with a stream, with the village cottages in the bottom segment from the ancient temple nestled in

24 Yuan Dynasty (1279–1368) was the empire established by Kublai Khan, the leader of Mongolian Borjigin clan, after Mongol conquered Jin and Southern Song Dynasty in China.

20 a high peak in the upper part of the painting. The body of the mountain is created with overlapped ink washes, presenting a solid, impregnated feel. Where the light falls, a cool golden ink wash is applied, representing the last rays of the ending day; the hamlet goes to slumber from its idyllic of daytime, immersed in a dreaming peace.

Figure 8: Kegong, G 1248–1310, Evening Clouds, Yuan Dynasty.

In my current paintings, neat, steady, gentle and elegant calligraphy are important features within my new art practises. Although my paintings combine the simplicity of the bright side of Chinese traditional culture (Yin‐

Yang), I am trying to convey this nobility and elegance, as well as my experience of immigration.

1.9 The Influence of Chinese Australian Artists

As a resident in Australia, several Chinese Australian artists currently influence 25 26 my work namely Lindy Lee (1954 ‐) and Wei Guan (1957‐ ).

Lindy Lee (of Chinese descent) was born in Brisbane. Wei Guan received Australian residency in 1993 through the Distinguished Talent Scheme. Lee, Guan and I are from a similar Chinese background, but the difference is Lee was born in Brisbane and I came from Beijing, and currently Lee and I are living and working in Sydney.

In Lee’s paintings, 'the secret' is something that builds up to the process, employing the ideas of chance and spontaneity that Damian Smith argues:

Lindy Lee’s works are intentionally slow to impart their secrets. Rather than singular visual statements, they are thoughtful objects where meaning emerges from sustained meditation. Conceptually concerned with the ancient universe, we are repeatedly offered ‘a grander vision of existence where the bonds of time are loosened and we are for a moment free' (Smith 2012, p. 93).

Lee's practice explores her own issues regarding her Chinese‐Australian traditions. She explores these issues through a prism of Zen and Tao Buddhism (Figure 9).

25 Lindy Lee is a leading contemporary artist with a career spanning over three decades in Australia and internationally. Born in Brisbane, her work frequently explores the nature of self in relation to her Chinese‐ Australian heritage.

26 Wei Guan bore 1957, Beijing, China. In 1989, three years after graduating from the Department of Fine Arts at Beijing Capital University, Wei Guan came to Australia to take up an artist‐in‐residence at the Tasmanian School of Art. He was invited to undertake two further residencies: one at the Museum of Contemporary Art in Sydney (1992), the other at the Canberra School of Art, Australian National University (1993). Since then he has obtained many grants, including an Australia Council’s grant; for Greene St New York studio in 2003, International des Art Paris in 2007 & Fellowship in 2008‐2009. In 2008 he set up a studio in Beijing. Now he lives and works in both Beijing and Sydney.

Figure 9: Lee, L 2009, Buddha and me, fire, inkjet print and Chinese ink on paper sheet 295 x 131 cm, Courtesy of the artist and Roselyn Oxley9 Gallery, Sydney.

The Chinese value education, and believe that educational achievement commands respect: a value that is an integral part of Lindy Lee and Wei Guan’s careers. However to date their works are widely appreciated by Australian society, but they are still having difficulty in gaining respect in Australian society. The tradition stems e from th philosophy of the Yin‐Yang theory, Confucius, Laozi, Zen and Buddhism. Valuing the intrinsic richness of lasting education is essential in considering the essence of these Chinese beliefs. These cultural influences become a guiding principle for many individuals, including Lindy Lee and Wei Guan.

Figure 10: Wei. G 2007, A Mysterious Land No. 6 2007, Acrylic on canvas, 130 x 218 cm.

Guan widely uses his Chinese heritage to represent his work while communicating ironic yet ethical messages. His works emphasise the social and environmental quandaries of global concern within a composite of figurative shapes. Most of his works appropriate famous traditional Chinese artworks, and add new meaning to these grand Chinese traditional references. There are points of view about what is observed in paintings and according to the thinking about Guan, it has been argued:

With Traditional Chinese art education requiring students to master the painting styles of each historic period, it is not surprising that Wei Guan's own style (having painted systematically from Impressionism to Postmodernism over ten years) has rendered his work appealing to Australian audiences (Figure 10). His works are cool in colour, surreal in style, quirky in wit. Wei's work displays a graphic sensibility and visual language similar to that of Leunig's cartoons and is successful for these exact reasons (Kelly 2003, p. 48‐ 49).

In this article, Kelly highlights how Guan worked his way through the last century of Western art culture, which his philosophy was unfettered and acting in 1980s to pursue Western cultural influence. The article highlights how

24 traditional Chinese art education required a student to master the painting styles of each historic period, and how Guan endeavoured to realize the main philosophy of his art methods and how his art work delivered liberating explanation‐weird in manner, fantastic in humour.

Kelly’s research focuses on assessing a range of Guan’s artwork from his development of the essentials with his individual approach, and made the cultural structures to link his new art universe of meditation that he has maintained to the present.

The article is relevant to my research topic immigration to Australia, as Kelly (2003) suggests that there are numerous reasons for different communal conventions and different cultural interpretations. Guan employed a perpendicular layout with a traditional Chinese scroll style. The main limitation of the article is the assessment that illustrations look like traditional Chinese painting. Therefore Kelly (2003) indicated that Guan’s work depicted the crossways of people in boats lost in a steady pursuit for shelter and liberty. This article will not structure the foundation of my research; but it will provide useful resources on migration, related to contemporary Chinese artists, which will provide insights into my own creations.

Figure 11: Luping Zeng 2013 NSW Hit by Heavy Storms, oil on canvas, 123 x 91cm.

For my own research project, I wish to pursue Lee’s perspective of Zen and Tao Buddhism, to create a narrative based on contemporary Australian news stories, while using Yin‐Yang to apply humour in a positive way. This technique that I have developed aims to structure a new philosophy to guide my composition, using the Chinese structure, Modernist painting techniques and my Chinese‐Australian cultural experience (Figure 11).

1.10 Outline of This Thesis

Chapter One has introduced my background of immigration to Australia and my studies in Australia. It discusses my relevant experiences with Australian culture, which is necessarily viewed and understood in relation to my Chinese heritage. This integration is used to search for a narrative art language using contemporary Australian news items as symbols of humanity’s challenges. In addition, this chapter will look at further emergences that have produced a vast cultural clash and have thus influenced my research experience and thinking.

Chapter Two explores the context of Chinese traditional culture and discusses Chinese traditional painting and how the practices of artists such as Zhang Zeduan (1085‐1145), Emperor Huizong (1082‐1135) and Ba Da Shan‐ren (1626‐ 1705), among others, introduce traditional Chinese painting, which is my previous understanding of my cultural, art history. Some of the elements are appropriated in my work. This appropriation provides a context for my work. Chinese traditional painting provides a backing for consideration of my artwork in Australia, which has been influenced by two artists of Chinese background who are residents in Australia.

Chapter Three examines Yin‐Yang as my methodological system and relates my perspectives and understandings of abstraction in the Chinese Yin‐Yang. Furthermore, Yin‐Yang is used to link the examination of the narrative style of the episodic in contemporary Australian visual art with my new approach of “Non‐Philosophy”.

Chapter Four explores the outcome of this narrative style and establishes my own studio practice within this context, expressing the incentives and

26 procedures essential to my research. These procedures link Chinese Yin‐ Yang to contemporary Australian news items of the area of culture and social enquiry that this research is concerned with.

The overall effect of my research will be an investigation of the unique experiences of a migrant’s progress through life, viewed through a framework of Yin‐Yang philosophy.

CHAPTER TWO: CONTEXT AND LITERATURE REVIEW

2.1 Chinese Traditional Painting

The main research question I would like to explore in my thesis is how it is possible to introduce aspects of Chinese traditional painting 27 into contemporary Australian society. Chinese painting28 also known as Chinese painting in the traditional style is called Zhong Guo Hua. Traditional Chinese painting (Xuan paintings):

Pigment in paper, Xuan silk painting, is the main historical form of Oriental Art according to Xue Xuanlin. It mainly refers to the writing brush, ink, and paint painting, painted on silk, paper, silk and framed scroll painting. The themes can be divided into figures, landscapes, flowers and birds; skills can be divided and freehand brushwork in traditional Chinese painting, it is the spiritual core of the text. Traditional Chinese painting emphasizes one's response to the natural world which demands putting' pen ‐to‐paper. The emphasis is on the spiritual to create an uplifting experience rather than being heavy and sombre (Wang 2010, P. 19).

An example of these practices can be evidenced in the work by Chinese artist Zhang Zeduan’s (1085‐1145) work “Along the River During the Qingming Festival”29 (Figure 12). The entire scroll is over 17 feet long and depicts a panorama of everyday life as people converge on the then‐capital city of Kaifeng 30 in Henan 31 Province to celebrate the festival. During the Song Dynasty (12th Century AD), the scroll was kept in the Forbidden City where the

27 Chinese traditional painting is highly regarded throughout the world for its theory, expression, and techniques. Chinese traditional painting dates back to the Neolithic Period about eight thousand year ago.

28 Chinese painting is one of the oldest continuous artistic traditions in the world.

29 Along the River During the Qingming Festival is a panoramic painting generally attributed to the Song Dynasty artist Zhang Zeduan (1085–1145).

30 Kaifeng was Ancient Capital of the Northern Song Dynasty (A.D. 960‐1127), located one East Henan Plain south of the Yellow River.

31 Henan is a province of the People's Republic of China, located in the central part of the country.

28 entire piece can be viewed. It was painted in a hand scroll32 format and the content reveals the lifestyle of all levels of society from rich to poor as well as different economic activities in rural areas and the city. It offers glimpses of period clothing and architecture. There are arguments about what is perceived in paintings and in Wong's (1924) essay he critically comments:

Several ancient Chinese paintings show hundreds of people participating in worldly life and commercial economic activity, which for these times is unusual. It is also rare in modern painting (Wang 2008, P. 102).

Figure 12: Zhang, Z 1085‐1145, Along the River During the Qingming Festival, Panoramic painting, 24.8 cm × 528.7 cm.

33 Comparable to this format, at the same time, in the French Romanesque art was “the Landing of the Normans in England a detail from the Bayeux Tapestry34” (Figure 13), which represents the series of events of the Norman

32 handscroll is a long narrow scroll for displaying a series of scenes in Chinese painting.

33 Romanesque art refers to the art of Europe from approximately 1000 AD to the rise of the Gothic style in the 13th century, or later, depending on region.

34 Bayeux Tapestry is an embroidered cloth—not an actual tapestry—nearly 70 meters (230 ft) long,

Conquest of England regarding William, King of Normandy which culminated in the Battle of Hastings35. The tapestry involves of some fifty scenes with interpretation, embroidered on linen with collared woollen yarns. It is likely that it was commissioned by Bishop Odo36(1036‐February 1097), and was made in England in the 1070s. As a specimen of medieval art, the tapestry creates the style of episodic visual art and is thus priceless. It is also an important historical source, while the scenes tell tales that are considerable events, such as Harold swearing to be "William's man"; they also provide a narrative of the medieval culture of the time. It is a particularly useful source of information concerning the visual art style, which was used to relate the events of the Battle of Hastings.

Figure 13: the Landing of the Normans in England Detail from the Bayeux Tapestry, 11th century.

In contrast the specific style of the Chinese national painting is an integral part of the Eastern culture and is very different to the Western styles of art. However, Chinese traditional painting became well liked in Europe and the USA

35 Battle of Hastings occurred on 14 October 1066 during the Norman Conquest of England, between the Norman‐French army of Duke William II of Normandy and the English army under King Harold.

36 Bishop Odo (1036‐February 1097) was King William's half‐brother. In 1066 William invaded England and Odo was in the army he apparently contributed 100 ships to Williams’s army.

30 in the period of 19th century during the second Anglo‐Chinese War37 (1856 ‐ 1860).

Initially, Chinese paintings were not figurative. The compositions combined patterns with notions showing the Chinese artistic ideal, for example, “Han 38 39 Dynasty Mawangdui Hanmu Bohua ” (c. 168 BC) from the Han Dynasty . The pictures of silk cloth Mawangdui Hanmu Bohua (Figure 14) were painted according to Chu civilizations and beliefs with whirling clouds interwoven with mystical animals and dragons. The wonderfully painted T‐shaped tapestry represents hell, earth and paradise with Chinese mythological characters40. This silk cloth painting depicts the Chinese abstraction of the cosmos and the afterlife at the time of the Western Han Dynasty as well. Art of similar style and function were found in Greek Art geometric41 style (c. 900 – 700 BC), such as “Funeral scene, Detail from a vase found in an Athenian tomb”. This detail shows the lives of the fallen Greeks42(ca. 600 AD) heroes who were celebrated with elaborate games, chariot races and processions for dead heroes. In the 8th century BC, Geometric style vases were decorated with scenes from interment processions.

37 The Second Anglo‐Chinese War was a war pitting the British Empire and the Second French Empire against the Qing Dynasty of China, lasting from 1856 to 1860.

38 Han Dynasty Mawangdui Hanmu Bohua (c. 168 BC) was a T‐shaped painting on silk, described in the report as a painting related to a pennant or wall hanging.

39 Han Dynasty (206 BC – 220 AD) was an imperial dynasty of China, preceded by the Qin Dynasty (221–207 BC) and succeeded by the Three Kingdoms (220–280 AD).

40Chinese mythological characters was mythological tales were written beginning in the Wei and Jin Dynasties (220‐420), when various writers, influenced by the alchemists ideas and Taoist and Buddhist superstitions, were interested in inventing stories about gods and ghosts.

41 Greek Art geometric is a characterized largely by geometric motifs in vase painting that flourished towards the end of the Greek Dark Ages, circa 900 BC to 700 BC. Its centre was in Athens, and it was diffused amongst the trading cities of the Aegean.

42 Fallen Greek (ca. 600 AD) is a formal speech delivered on the ceremonial occasion of a funeral. Funerary customs comprise the practices used by a culture to remember the dead, from the funeral itself, to various monuments, prayers, and rituals undertaken in their honour. 31

Figure 14: Mawangdui Hanmu Bohua,

Western Han painting on silk was found draped over the coffin in the grave of Lady Dai (c. 168 BC) at Mawangdui near Changsha in Hunan province.

Comparing Eastern and Western ideas in these artworks, they were episodic, showing the celebration of people’s funerals. “Mawangdui Hanmu Bohua” depicted the Chinese beliefs of the cosmos and the afterlife at the time of the

Western Han Dynasty43. “Funeral Scene44” (Figure 15) recreated the funeral processions for the dead heroes at the time of the Greeks45. For “Mawangdui Hanmu Bohua”, death was essentially the hell, earth and paradise with Chinese mythological characters; for 'Funeral Scene', it was an event celebrating fallen Greek heroes. These art styles were similar (decoration) and depicted the celebration of people's funerals, even though the Eastern and Western understanding of death is different.

Figure 15: Funeral scene, Detail from a vase found in Athenian tomb, Geometric style, 8th century BC, Metropolitan Museum of Art, New York.

Today, Chinese painting is one of the oldest representations of the Eastern artistic traditions in the world. At its core it is guided by the Chinese traditional philosophy of Yin‐Yang, which is one of the principal tenets of the Chinese

43 Western Han Dynasty (206BC ‐ 24AD) was regarded as the first unified and powerful empire in Chinese history.

44 Funeral Scene was attested widely in ancient Greek literature, the archaeological record of ancient Greece, and in Greek art.

45 The time of Greek was a civilization belonging to a period of Greek history that lasted from the Archaic period of the 8th to 6th centuries BC to the end of antiquity (ca. 600 AD). 33 aesthetic standards46.

Chinese traditional painting is basically a brush dipped in black ink and Chinese colours. The method of painting is similar to Chinese calligraphy, which must be done with a Chinese calligraphic brush and a Chinese seal on special Chinese paper or Chinese silk. The painting thus produced is mounted on scrolls mostly, for example, vertically hanging scrolls (Figure 16) or horizontally hanging hand scrolls (Figure 17).

Figure 16: Chinese hanging scroll on display in the Shanghai Museum.

46 Chinese aesthetic standard has a long history of varied styles and emphases. Confucius emphasized the role of the arts and humanities in broadening human nature and aiding in bringing citizens back to what is essential about humanity. 34

Figure 17: Chinese Handscroll of Early Autumn (13th century) by Song loyalist painter Qian Xuan.

There are two major schools in Chinese painting. The first is 'Scrupulous47' ‐ (Gong‐Bi Hua) which is often regarded as the Royal manner of painting in the past, for example Zhao Ji’s style48 (Figure 18), and his work 'Two Finches' (1082–1135). His style of work was a characteristic of the royal manner of painting in Chinese art history. The focus here was for the artist to reproduce accurately an object or scene.

Figure18: Ji, Z 1082‐1135, Emperor Huizong of Song, Two Finches.

47 Scrupulous uses highly detailed brushstrokes that delimits details very precisely

48 Zhao Ji's artistic style of painting was the "Han Lin Hua Yuan": it represented the best painters around China who displayed characteristic royal manner of painting.

The second school is known as 'Complete Freedom49' (Shui‐Mo Hua), which freely uses Chinese ink and colours with brush painting. This style is usually pointed to as representing the freehand Chinese painting style. In China it is called 'Xie Yi' which means it is the representation of the Chinese artist’s ideal. It was mostly exemplified by the Chinese literate painting50, such as Ba Da Shan‐ren’s (ca. 1626—1705) style, and his work “Flower, Rock and Two Fish” 51 (Figure 19). Chinese literate painting is based on calligraphy style.

49 Completes Freedom Started around 4000 B.C. this traditional Chinese painting has developed continuously over a period of more than six thousand years.

50 Chinese literate painting, an ideal form of the Chinese scholar‐painter who was more interested in personal erudition and expression than in literal representation or an immediately attractive surface beauty. First formulated in the Northern Song period (960–1127)—at which time it was called shidafuhua—by the poet‐ calligrapher Su Dongpo, the ideal of wenrenhua was finally and enduringly codified by the great Ming dynasty critic and painter Dong Qichang, who identified two great lineages of painters.

51 Calligraphy is an Oriental art. It is very much like painting. It uses Chinese characters to communicate the spiritual world of the artist. 36

Figure 19: Bada Shanren, Flower, Rock and Two Fish.

To summarize, Chinese traditional painting, which took root in Eastern culture is different from Western cultures. For Western painters the approach taken was an intellectual engagement; for the East the approach was an emotional response to life rather than a mere reproduction of an external stimulus. Techniques used included using ink and vertical calligraphy along with the artist’s poetry or idea. The use of a characteristic, sharp brush enhances the artist's unique vision.

2.2 Chinese Education for Artists

However in the second half of the twentieth century, during the time of new government policy directions (1978) the gates were opened to incorporate formal teaching initiatives together with western influences. A new government direction was embedded in primary and secondary education. Young talented Chinese people were chosen by an art school to continue their training. The style of education is that the student is taught in the traditional manner: The teacher demonstrates the technical skills of art and the student, rather than using his or her mind and imagination, merely learns to incessantly repeat the same patterns, until the knowledge becomes automatic. Nowadays, there are many debates about this traditional methodology within the contemporary Chinese art scene and there is a gathering momentum advocating innovative ways of educating young talent.

Art education constitutes an important component of teaching in primary and secondary schools. The Chinese call this 'Shao Yixiao' meaning Little Art School and 'Meishu Fuzhong' meaning Secondary Specialized Fine Arts College. The early teaching programs for young artists are drawing, calligraphy and appreciation of fine arts as part of their training. Memory is still considered important but the skill of drawing practiced at home, with family, traveling to school and varied experiences while at school blended together and metamorphosed into an artistic expression is now viewed as important also.

After the students pass the National Examination52, they graduate from the Secondary Specialized Fine Arts College. The best students are chosen to study in the Fine Arts Institute. A system of artist education is now well formed in Chinese institutions of higher learning, guided by the leadership of the President and the Institute’s general administration.

Training and education in all fields of endeavour, including art, brings significant self‐esteem and status to students. Another significant value is attached to arranging different and motivating artistic workshops. These workshops give extensive coverage of themes in the field of visual art. There are lectures from experts who have demonstrated great achievements in the

52 National Examination is an academic examination held annually in China.

38 institution or famous artists are invited to speak from the outside organizations.

In addition, since 1984 a program of the National Art Research Organization53 has been focusing increasingly on indigenous and social art education. The institutions involved in this approach are self‐governing yet interconnected with other international institutions. Chinese international students coming to China are also contributing considerably to art education within China, bringing new perspectives and knowledge gained while studying overseas. Also, Chinese artists studying overseas have been able to form a link with artistic communities in countries such as USA, England, Russia, Japan, France and Australia. Chinese artists have participated in many international art events and have exerted influence on and have been influenced by international art education trends and exhibitions.

The famous contemporary Chinese artists come from different backgrounds and cities, but their cultural understandings are almost identical. The effect of Chinese cultural experiences binds these artists and their new art ideas together. Leading contemporary visual artists include, for example, Ai Weiwei54 55 56 （18 May 1957‐ ), Cai Guoqiang (December 8, 1957‐ ), Fang Lijun (1963‐ ) and Guan.

53 National Art Research Organization is higher degree studies by research leading to the degree of Doctor / Master of Arts in line with the increasing emphasis on research in the areas of Humanities, Education and Physical Education.

54 Ai Weiwei (18 May 1957‐ ) is a Chinese contemporary artist, active in sculpture, installation, architecture, curating, photography, film, and social, political and cultural criticism.

55 Cai Guo‐Qiang (December 8, 1957‐ ) is a Chinese contemporary artist and curator. He currently lives and works in New York City.

56 Fang Lijun (1963‐ ) is one of the leading and most influential contemporary artists in China.

2.3 The Philosophy of Chinese Art and Yin‐Yang.

The Chinese philosophy of art is influenced by Yin‐Yang. I am investigating how some Chinese artists apply the idea of Yin‐Yang art theory to their compositions and how Chinese philosophy has influenced historic Chinese art.

Yin‐Yang art theory follows the Chinese tradition of concepts in art. Mainstream traditional Chinese art originates from Chinese Yin‐Yang theory in the West Zhou era57 . In Yin‐Yang, Yin represents the dark and hidden structures while the Yang represents the Sun, the visible, the light or the 'Agleam'. Wu‐Xing's Five Stages (Wood, Earth, Fire, Metal and Water) (Feng 1934, p. 13) were the core notion of traditional Chinese ideas of the universe. These notions of the universe became the traditional Chinese philosophies. They were embedded within the social, religious and economic relationships of humanity and were established in Chinese tradition over a long period so that all human activities became interlinked through Yin‐Yang. The development of Yin‐Yang theory produced a branch, which was the Wu‐Xing theory in Spring Autumn58 and Warring States59 period that took place from approximately 771 until 476 BC. Wu‐Xing was recognized as the Five Stages60 ‐ the Five Means, the Five Activities, and the Five Phases were an early record of in many conventional areas of Chinese art61.

In Chinese historical cultures, the Yin‐Yang art system is still used as a reference in some forms of Chinese traditional painting. Many artistic researchers named the Yin‐Yang, Wu‐Xing art theory as the Chinese method of introducing and interpreting art concepts. For example, the system of Yin‐Yang was used for interpreting reciprocities and connections within the environment. It was applied as a philosophy in numerous areas of Chinese

57 Western Zhou period (1046–771 BCE) was the first half of the Zhou Dynasty of ancient China. 58 Spring and Autumn Period was a period in Chinese history that took place from approximately 771 until 476 BC in the alluvial plain of the Yellow River, the Shandong Peninsula and the river valleys of the Huai and Han.

59 Warring States period is a period in ancient China following the Spring‐Autumn period and concluding with the victory of the state of Qin in 221 BC, creating a unified China under the Qin Dynasty.

60 Five Stages is a fivefold conceptual scheme that many traditional Chinese fields used to explain a wide array of phenomena, from cosmic cycles to the interaction between internal organs, and from the succession of political regimes to the properties of medicinal drugs.

61 Traditional Chinese art has varied throughout the changing times according to the influences of the ruling dynasties along with the prevailing religions.

40 reflection, including apparently dissimilar ways, for example, Feng Shui62, traditional Chinese medicine63 and art. In the field of art work, the progression of the cycle of Feng Shui was shown, as in Jim Thompson’s painting “Yin‐Yang” (Figure 20). It provides a way to the unknown, where naturally creative activity commences which finally may return to a new being. Nature and climate modality and the natural sky extend into the distance beyond. Feng Shui circulates, to cool down and reorder unacquainted elements into more conversant elements.

Figure 20: YIN‐YANG, painting by Jim Thompson, Digital 24”x24”.

62 Feng Shui is a ancient and powerful Chinese art, which arranges business and residential premises to maximise prosperity.

63 Traditional Chinese medicine (TCM) is a broad range of medicine practices sharing common theoretical concepts which have been developed in China and are based on a tradition of more than 2,000 years, including various forms of herbal medicine, acupuncture, Massage, exercise, and dietary therapy.

In the Eastern Jin time (265 AD – 316 AD), the artist Gu Kaizhi (ca. 344‐406) boldly created the notion of “Describing the spirit through form” (Chuangxi 2006, p.28). It brought fresh ideas of “Vivid Portraiture” 64 as the paramount art ideal. Gu Kaizhi also highlighted not to worry about details but to explore ideas as the way to a new philosophy. That is to consider ideas as paramount and thereby creating art on a new level.

Chinese Yin‐Yang art theory is still used as a reference in the work of some ex‐ pat Chinese artists. In a number of provinces in China, the unique concept of Yin‐Yang underlies the foundation of art methodologies. An example is contemporary Chinese artist Ai Weiwei’s work: “Fuck your mother, the Communist party central committee” (Figure 21).

Figure 21: Ai. W 2011, Fuck your mother, the Communist party central committee, photography.

Ai’s intention behind his challenging political statement was affected through his artwork, and demonstrates his use of Chinese Yin‐Yang art theory. His

64 "Vivid Portraiture" was Gu Kaizhi advocated painting to show the character's mental state and personality characteristics, attach importance to the painted objects of experience, observation, through the image of thinking that is moved to grasp the essence of the object, in the shape of the basis of the performance figures of the modal state of mind, namely, to express the spirit.

42 words “the Fuck and the Communist party65” were describing a natural inclination within the characteristic male and female condition. Ai Weiwei’s art reproduces his thoughts and interest in Chinese Yin‐Yang art theory. His art talks about his views of individual humility. The creativity for this work was stimulated by Yin‐Yang theory together with other features of Chinese culture that are evident in this work, for example, Ai’s word 'fuck' signified the Yin‐ Yang.

In summarizing, Chinese traditional painting, as part of Eastern culture is different to Western styles of art most notably because it is also a representation of a Chinese artist’s ideal of China.

2.4 My New Philosophy

My new philosophy: “Philosophy and Non‐Philosophy” was discovered through my research, and linked with Yin‐Yang theory66 (Western Zhou Dynasty 1034 BC). By ancient custom "Philosophy" is the first condition of the creation of a painting. But this theory has a major component because it locks in the artists’ own appearance and their metaphysical response. "Non‐Philosophy" is that "I use my method". This is the use of traditional techniques of the most appropriate techniques to achieve the expression of my ideas. The "Non‐ Philosophy" and "Philosophy" the contradictory dialectical unity, is an application of Yin‐Yang in painting and is the perfect embodiment of my research.

The point of this review is an analysis of the Chinese historical culture. Yin‐Yang was regarded as a significant theoretical and intellectual development, during a time known as the Hundred Schools of Reflection67. It was at some stage in

65 Communist Party of China known as the Central Executive Committee until 1927, is the highest authority within the communist Party of China.

66 Yin Yang theory holds that all phenomena consist of two opposite aspects, yin and yang, which are variously defined as: up and down, left and right, light and dark, hot and cold, stillness and movement, substance and function, etc.

67 Hundred Schools of Thought were philosophers and schools that flourished from 770 to 221 BC during the Spring and Autumn period and the Warring States period, an era of great cultural and intellectual expansion in China.

43 the Warring States period that the major beliefs of China, Confucianism68, Mohism69, Legalism70, and Taoism71 arose along with a way of life, like Chinese Naturalism72, the Agriculturalism73 and the Logicians way.

While a lot of Chinese philosophies began in the Warring States age, the fundamentals of Chinese beliefs have existed for thousands of years; some can be found in the Yi Jing74 ‐ Book of Changes, an early abstract concept of prediction which can be dated back as early as 680 BCE. Subsequently the Han Dynasty, Confucianism and Taoism developed into the leading academic schools of China.

Chinese traditional painting is often the artist personality cultivation and is one important issue to discuss, and is the basis for the evaluation of a painting. Therefore, Chinese painting should not only reflect the technical skill of the artist, but also more so consider his character, knowledge, wisdom, ability, interest and the five aspects of personality75.

My new art approach is also influenced by a contemporary article of the "Backflow Returned Chinese Artists" (Erikson 2003). In this article Erickson reports on the event of Chinese grand Proletarian Cultural Revolution between 1966 to1976. These Chinese contemporary artists’ motivations cover the wide arc of Chinese political, social, economic, practical, and spiritual issues. Zhang

68 Confucianism is a Chinese ethical and philosophical system developed from the teachings of the Chinese philosopher Confucius (551–479 BC).

69 Mohism is a Chinese philosophy that evolved at the same time as Confucianism in the Warring States Period (475‐221BC).

70 Legalism was one of the main philosophic currents during the Warring States Period, although the term itself was invented in the Han dynasty and thus does not refer to an organized 'school' of thought.

71Taoism was an ancient tradition of philosophy and religious belief that is deeply rooted in Chinese customs and worldview.

72 Chinese Naturalism referred to a unique Chinese philosophical orientation that looks for no mathematical patterns in the realm of nature.

73 Agriculturalism was an early agrarian Chinese philosophy that advocated peasant utopian communalism and egalitarianism.

74 Yì Jīng was one of the oldest of the Chinese classic texts. The book contains a divination system comparable to Western geomancy; in Western cultures and modern East Asia, it is still widely used for this purpose. 75 Five aspects are personality cultivation that are character, knowledge, intelligence, skill and interest.

Huan76(1965‐) is one Chinese migrant artist, who moved from Beijing to New York. Erickson uses the Chinese event of revolutionary form for the depiction of many past Chinese events. Therefore his challenging difficulty was to produce some creatively significant artworks in that time. This article focuses on the method in which Zhang Huan dealt with the problem of art philosophy. And the western irresistible contemporary ideological culture and stylistic artworks have affected many young Chinese artists who desired to pursue Western culture. But in reality, the real problem was the artist’s behaviours must follow the regulation of Chinese government policies.

The article on contemporary Chinese immigrant artists expresses their radical philosophy. What contemporary Chinese immigration artists have used is the same as what I hope to achieve through my individual project. They use unique immigrant experience to portray their immigration to Australia. The major limitation of the article is that migrant artists have been called ‘traitors’ in the international art world because their artwork was being presented as 'contemporary Chinese art.'

Erickson argues that his viewpoint was expressed in both Chinese cultural antipathy and interest. And this article also interprets how Zhang Huan attained such success within the international art field. In fact, Zhang Huan always links Chinese traditional culture with western culture to produce his new style of artwork that Chinese artists have achieved a position where they harvested the benefits of settler artists overseas. They have found a new path through their immigration experience. There are major parallels with Zhang Huan’s experiences and my journey as a Chinese artist in Australia. These will be summarized in the formulation of my project in which I will provide a unique positive art approach to analyse my own story. Thus, I understand that, combining both Chinese and Australian art cultures will provide insight into different social perspectives in the different geographies.

After completing my Master of Art in Visual Arts degree in 2010, I have been thinking about how my research would apply the Chinese Yin‐Yang art theory to my painting and how this might create a new philosophy of art.

76 Zhang Huan (1965‐) is a Chinese artist based in Shanghai and New York. He completed his BA at the He Nan University in Kai Feng (1988) and his MA at the China Central Academy of Fine Arts in Beijing (1993). He is primarily a performance artist but also makes photographs and sculpture. 45

I am interested in how my experiments will express Yin‐Yang art theory, such as the imagination of dream and the aesthetic culture of eastern idealism. The questions which are currently guiding me are how I can understand more deeply and interpret and use the Chinese Yin‐Yang art theory made possible in the Chinese painting regarding the philosophy of “Natural Dreaming”, how it can be used within my painting practice; and how can it be suitably applied to my current research.

The meaning of 'Natural Dreaming' is to say that there are male and female forces in nature, which are always compelled to unite and form a whole. Their phenomena create a dream aspect in reality. These phenomena were called 'Natural Dreaming' in Yin‐Yang art theory. It is a true Chinese conceptual theory of Chinese history applied to reality. It calls for an abstract concept of the science of integration and production. I believe that this way of thought is certainly significant for developing the notion of contemporary art in my ongoing research.

The development of Chinese painting and the understanding formed by the philosophy of the history of Chinese ideas is not separate. Especially they have very good relationship with Chinese art philosophy, ethnics, literature, calligraphy, music, dance etc. When Yin‐Yang theory was applied to painting, the art produced and the character of the culture mainly demonstrate its embodiment. The art produced includes an ideal of production, method or form and cultural standards. Conceptual philosophy is that painting ise th artist acting on the representation of the impersonal.

Therefore the first question to be confronted is the relationship between the thing and me. In Eastern Jin time, artist Gu Kaizhi (344 ‐ 406 AD) put forward words "In figure paintings the clothes and the appearances were not very important. The eyes were the spirit and the decisive factor" (Zhuo 2011, p.11). And the Tang time artist Zhang Cao77 (no detail about birth and death) named this production philosophy more specifically, the “Act of the outside, getting a fresh idea” (Yang 2009, p.32).

77 Zhang Cao (no detail about birth and death) was a Tang Dynasty Chinese painter and statesman.

My wish is to make progress in summarizing painting methodologies. My new philosophies include painting method and notes. Considerable attention will bring new exploration to the bright expressions of my subjects to represent my spirit. My hope is my new philosophy will become a basic methodology for my individual project. According to the aesthetic principle of Yin‐Yang art theory, I will create my paintings based on my unique experiences immigration to Australia and linking these to contemporary Australian culture.

In conclusion, if I want to explore, have a deep investigation, get a fresh ideas for my research, it will be an interesting pursuit to apply my new insight: the philosophy of “Non‐Philosophy".

2.5 The Sense of Yin‐Yang

Yin‐Yang is the universe to be both opposite and complementary nature of an abstraction. It is also the unity of opposites and thinking law philosophy category. Chinese sages chose the two words 'Yin' and 'Yang' to represent all two corresponding, and complementary opposites. Yin‐Yang thought was adopted by Confucianism and was great influenced by Taoism the embodiment. In the embodiment of the 'Moral Philosophy78'(Lao Zi 771 ‐ 476 BC). In the first chapter of Moral Philosophy Lao Zi said: "all things which have negative yin‐yang" (Wang 1997, p. 301); the 'Xici Diction79‘(Fu‐Xi80 mid‐29th century BCE) says: "One Yin and One Yang of that road" (Huang & Zhang 1989, p. 136). In the full version of I Ching81 (Fu Xi mid‐29th century BCE) discussion about 'Yin and Yang' led to changes in the mathematical and philosophical world. In 'I Ching' the basic idea is the interaction between Yin and Yang and the universe: The universe is the unity of opposites.

Yin‐Yang symbolizes the earliest Chinese considerations of how the object works in life. The external circle embodies everything within human existence,

78 Moral Philosophy was from the Warring States period (771 ‐ 476 BC) Taoist school compiled records of the late Spring and Autumn Period thinker Lao zi.

79 Xici Diction (Fu Xi79 mid‐29th century BCE) believes, "Zhouyi" is an ancient book about the philosophy of sage.

80 Fu Xi (mid‐29th century BCE) was the first of the Three Sovereigns of ancient China.

81 I Ching (Fu Xi81 mid‐29th century BCE) was one of the oldest of the Chinese classic texts.

47 as the black and white figures within the shape of the circle embody the relation of two powers: Yin is the black to signify the female and Yang is the white to signify the male, which generates everything that occurs. They are not fully black or white, just like the objects in life are not fully black or white, and they cannot be presented without each other.

The characters of the Yin and Yang essentially present the logic of the constant movement between two powers. There is Yin with Yang and Yang with Yin, always causing everything to occur, such as things increasing and diminishing, like a transition from hot to cold. The meaning of Yin could be dark, flaccid, negative, downward, toning, and holding, the female aspect. The meaning of Yang could be bright, dynamic, rising, searing, expanding, and strong, occupancy, and the male aspect.

In Asian thinking, many natural elements e.g. black and white, dot and line, fill and void, form and ideal, coloured and uncoloured‐are considerations of the art representation within Yin‐Yang. The idea of Yin‐Yang, the one that is usually referenced in the Western understanding, is how Yin and Yang are used to express the interconnectedness of the seemingly opposite forces and the interdependence in the natural universe, and how they relate to each other in a circular way. Opposites therefore only are in relationship with each other. The fundamentals of this notion are the origins of many branches of traditional Chinese philosophy, painting, calligraphy and architecture, such as Wu‐Xing, Wu‐Wei82, and Chi Kung83.

2.6 Yin‐Yang Implications for My Painting

In my philosophy of painting, the elements of shade and light from Yin and Yang are inspired by in the Wu‐Xing period. It emerges from an original stillness or blankness, sometimes signified as a void circle, and continues moving until stillness is reached again. For example, like the interaction of female and male is interconnected and interdependent, making the land in a calm sea of water concurrently heavy waves and lower channels between Yin‐

82 Wu wei is an important concept in Taoism that literally means non‐action or non‐doing.

83 Chi Kung is a practice of aligning breath, movement, and awareness for exercise, healing, and meditation. 48

Yang, and this fluctuation of high and low points in the curve will emit outward until the movement dies away and the circle is tranquil recurring more.

Further, whenever one feature reaches its climax, it will naturally begin to transform into the opposite feature: for example, small black dot that will get to its full height in the section of white, fully Yang. It will create another white dot that will reach fullness low in the section of black, fully Yin in a cricoids cycle.

Yin‐Yang inspires everything in creation. It brings about the development of culture and it is also the origin and source of life and death. For example, my new philosophy of Non‐Philosophy is discovering and learning from the cycle of Yin‐Yang.

2.7 The Considerations for My Creations

When I consider art making, it is thinking about how art philosophy can be explored from a Yin and Yang perspective. Every occurrence that happens can be attributed to one of these opposite forces. In my consideration of art making the black parts are the portrayal of contents, which stand for Yin and creation; the white parts are nothing or void standing for Yang and space. The black section stands for making; the white section for destruction.

The dark section creates about it the embodiment of creative art; the bright section brings to life the space of imagination. The black part is a “Philosophy” of embodiment and the white represents a “Non‐Philosophy” embodiment. Each of these opposite forces has the latency to make the other. My completion of the art making “Philosophy” occurs under the Yin. My consideration of the art idea “Non‐Philosophy” occurs under the Yang, and vice versa. It is derived from Yin and Yang, from circularity and continuum, so that neither “Philosophy” nor “Non‐Philosophy” is recurrently predominant over the other.

The contrast of my idea or output, and their opposites that I experience, be it destitution and abundance, representation and concealment; created and appropriated can be commented on with reference to my consideration of art making within one principle over the other. Since neither of the two,

“Philosophy” or “Non‐Philosophy” dominates endlessly, this means that all circumstances are subject to change into their opposites. For example, my painting “Advanced Education” demonstrates this approach (Figure 22). The 'Five Elements' of Yin‐Yang, Wu‐Xing (namely: Wood, Earth, Fire, Metal, Water) in the painting in the specific performance show that art is the product of thought, the world outlook is the artist's soul; character determines the painter's thought tendency, but also penetrates and guides the creative practice process. A Chinese painter, must have a noble moral character, this is beyond all doubt.

Figure 22: Luping Zeng 2011, Primary version one‐Advanced Education, watercolour on paper, 44 x 30 cm.

The elements of the identity for Yin‐Yang, has more than just one overtone. Essentially, Yang signifies 'sunlit', so it matches up the day and more dynamic action. But Yin signifies 'shaded', and matches up the night and less dynamic action.

My "Non‐Philosophy" used within the Chinese traditional Yin‐Yang is only a means, rather than my aim. Advocate an advance art style, to create my personal new artistic approach to carry forward an ongoing search for new visual approaches and continuing discussion of these innovative approaches. From a Confucian viewpoint one's education needs to be always developing to

50 benefit one's society and to advance the wisdom and insight of the individual (Figure 23), and foster morals to maintain good exploration. My actions not only pursue benefits for society but also I attempt to avoid illusion. This course of action in my research is my true aim.

Figure 23: Luping Zeng 2012, Primary version three‐Advanced Education, oil on canvas, 145 x 125 cm.

Academia is in ceaseless discussion with progress. Thus I think, in relation to the aesthetics of traditional Chinese Yin‐Yang, the way of thinking about higher education is to combine it with modern scientific and technological achievements, so that this pair of contradictions 'art' and 'science' is unified in philosophical thinking. Thus my research can be further developed and contemporary visual art can be truly a renaissance of traditional Chinese painting with contemporary art.

CHAPTER THREE: METHODOLOGY

3.1 The Intention

My intentions for my paintings are to explore my new surroundings, immigrant cultures, Western science84, and local belief systems, through the environment as related to Yin‐Yang. These subjects will reveal the experience of an immigrant. My research is a thoughtful yet light‐hearted engagement with my own life situation and Australian contemporary culture.

I want to explore my contribution to Australia in the form of Chinese artistic expression and believe it will constitute a significant role85 by bring a personal perspective to new audiences. My paintings portray less seriousness in their emotive attachment to both cultures. Thus I am hoping that my paintings will bring a new dimension to the art of modern Australia.

Figure 24: Luping Zeng 2012, Primary version two‐Advanced Education, charcoal on paper, 44 x 30 cm.

84 Western science: the science of any country that is part of "the western world", e.g. the USA, the UK, France and Germany.

85 Significant role: relating to my new surroundings, from an immigrant’s perspective, 52

I will try to achieve this without prejudice to my deeply inscribed traditional sensibilities in that my painting will continue to pay due acknowledgement to my Chinese heritage of Yin‐Yang. My paintings are replete with moments and images, such as shown in my work “Advanced Education” (Figure 24). My figures, characteristic architectural forms, calligraphy motifs, painterly qualities and my unique approach86, gentle enthusiasm87 and humour echo with the Chinese literati painting88 tradition of Yin and Yang. The relevance of my work is both individual and universal. My paintings may appear both optimistic and freakish. I wish to deal with significant concerns in the modern world in a unique visual language that employs both my Chinese heritage and my new imagination. In this way I wish to become 'a cultural navigator'. For example, my intention for "Advanced Education" is that I use the Chinese Yin‐Yang philosophy. I incorporate some stories about my current advanced education. Some elements are appropriated from Gu Kaizhi’s painting “Wise and Benevolent Women”89, as a past story to make a contrast and to link with my current post‐graduate education. I am also exploring the Chinese and Western artistic influences that have contributed to the richness of my painting. In addition, this interpretation follows the advice and agreed discussions at my confirmation seminar and also my supervisor’s comments to refine the contemporary themes, which have influenced my work. Finally, this interpretation will examine how each of these factors culminates in my own personal philosophy that establishing “Zeng’s Way of ‘Non ‐ Philosophy’".

86 My unique approach: I use the Chinese Confucian Yin‐Yang philosophy as a tool to explore the Chinese and Western artistic influences.

87 Gentle enthusiasm: art is causing a feeling of excitement and active interest.

88Chinese literati painting: Literati paintings were prized above academic paintings by most educated people, who understood their goal of revealing the inner character of the painter and communicating, through depictions of nature, man, or objects, virtues, strength of purpose, and sensitivity towards the conditions of human life.

89 Wise and Benevolent Women: It illustrates a subset of the women described in the Han dynasty work Biographies of Exemplary Women. 53

Figure 25: Luping Zeng 2012, Primary version two‐PM Gillard Honours US War Dead, charcoal on paper,

44 x 30 cm.

As a result of my research I propose in my painting to suggest a new landscape of modernity, the natural environment, fable, theory and the civilization of the East and West. Humour is a outcome of my paintings, with its figures bouncing jubilantly through the universe, towards a new millennium of everlasting hope. Such as is shown in my painting (Figure 25), which Julia Gillard steps out of the plane into a traditional Chinese landscape.

My paintings can be explored by a free use of the viewers’ own aesthetic imagination. However, my annotations using English and Chinese texts incorporated into the painting offer useful insights by linking Chinese traditional art with a news story of contemporary Australia.

3.2 The Process

The process of my research painting is exemplified in that I use the Chinese Yin‐Yang, my first research painting “Advanced Education” since it explores my new philosophy “Philosophy and Non‐Philosophy”. I am exploring how to apply Yin‐Yang to Australian contemporary art.

The development of Chinese painting and the understanding formed by the philosophical history of Chinese ideas are not separate. Applying this theory in my research painting of "Advanced Education"(Figure 29), the two figures wear Chinese traditional dress – portraying the character of two Chinese Jin Dynasty people: a supervisor and a candidate. This painting contains the essential characteristics of my new art philosophy, combining originality, different viewpoints, humour, sophisticated educational interpretation and showing a very different cultural view of life.

As discussed above, Wu‐Xing is a philosophy closely related of Yin‐Yang. The first phase of Wu‐Xing is Wood. In the philosophy of the Wu‐Xing cycle, fire is wood’s nemesis as fire burns Wood. On the other hand, Wood is earth’s nemesis as roots, trees and other plant forms can prevent soil erosion. This figure (Figure 24) was drawn in the position of Figure 27 that is highlighted by the imaginary figures. In traditional Chinese education an 'old' story is insignificant and is only considered in relation to its contemporary relevance. The setting is an important approach so I have included this insignificance within my composition to highlight the contrast between tradition and modernity. The cultural differences have been replaced by a contemporary, more imaginative visual emergence in my painting. In the painting, the method of presentation employs Courbet’s oil technique. Courbet painted figurative compositions, and by painting subjects from living life that were considered realism, such as the living life and real events, I deem that the living source for contemporary art is my research, my own experience. These elements are

55 considered to apply through my composition. Expressed as a hypothesis, the painting would use Chinese forms of traditional art representation and would be transformed through my exposure to Western style of 19th century oil technique. For example, the specific approach is portrayed through the scene of “the detail of NSW Hit by Heavy Storms” (Figure 26), since Courbet's oil technique has been used in this painting.

Figure 26: Luping Zeng 2013, the detail of NSW Hit by Heavy Storms, oil on canvas.

Figure 27: Luping Zeng 2012, Explaining sketching one of Form of Advanced Education, pen & ink on paper.

The analysis of the sketching of "Advanced Education", the box (Figure 28) has been appropriated from Gu Kaizhi’s painting “Wise and Benevolent Women”. It signifies the idea that the process of education is like the construction of a building.

Figure 28: Luping Zeng 2012, Explaining sketching one of Form of Advanced Education, pen & ink on paper.

The connection point of foot serifs and the bar suggest the educational link between the West and East (Figure 28).

Figure 29: Luping Zeng 2012, Explaining sketching two of Form of Advanced education, pen & ink on paper

Figure 30: Luping Zeng 2012, Explaining sketching three of form of Advanced education, pen & ink on paper

In traditional Chinese painting, an unfilled space is an important technique to highlight emptiness so I added this void to illustrate my personal place within my composition (Figure 30).

Figure 31: Luping Zeng 2012, Explaining sketching four of form of Advanced education, pen & ink on paper

The use of symbol of Yin‐Yang (Figure 31) shows the relevance of my work as both individual and universal.

Figure 32: Luping Zeng 2012, Explaining sketching five of form of Advanced education, pen & ink on paper

Yin (the educator) and Yang (the student) become part of a visual dialogue (Figure 32) where they apply Yin‐Yang of Traditional Chinese Medicine (TCM) practices. The student is shown as a void who is marked with TCM points which humorously indicates the passing on of knowledge and its power to fill the

59 student's vacuum. The student receives detailed education within the atmosphere of the attractive Chinese tea culture.

Concerning the silhouettes, I have tried to use Yin‐Yang elements in this painting, as the feature of my contrast, which was using Chinese calligraphy (Figure 33), Yin‐Yang TCM Practices of medicinal characters with acupuncture points. In this painting I have isolated my figures to try to create a new aesthetic, to adopt the traditional attitude positioned as part of the Confucian education system with kind and noble attitudes, while the doubled outlines of portraits are located as part of the scholar's figure. The construction’s shapes add further emphasis to these interesting scenes. The educator (Yin) and the student (Yang) become part of a visual dialogue where they apply Yin‐Yang TCM Practices. The void, marked with TCM points receives detailed education within the atmosphere of the attractive Chinese tea culture.

Figure 33: Luping Zeng 2012, the detail of primary version three‐Advanced Education, oil on canvas.

I have also used the acupuncture points of Chinese medicine, to create a sense of imparted knowledge passed on through the acupuncture point, transmitting knowledge between the educator and the candidate.

I have a thorough knowledge of Chinese literature, poetry and history, the source being the noble and highly cultivated Han culture of Yin and Yang. I am also experienced in Chinese calligraphy90 and the style of Chinese painting, which employs Chinese brushes and Chinese ink. Chinese artists acknowledge the deep influence of colour (white and black)91 and figuration (circle and cycle) as I do in my new art philosophy92, I also endeavourered to be controversial by creating a message for the viewer that is both clear and humorous yet also creating a new and unique culture, because it is neither Eastern or Western.

In my work, I attempt to make progress in summarizing painting methodologies. My new philosophies include painting method and notes. Thus considerable attention will bring a new exploration of the bright expressions of my subjects to represent my soul. My ambition is my new philosophy will become a basic methodology for my individual project. According to the aesthetic principle of Yin‐Yang art theory, I create my paintings based on my unique experiences (immigration to Australia) and linking these experiences to the contemporary Australian culture.

For example, when I consider the painting production, I am thinking about how art philosophy can be explored from a Yin and Yang perspective, how they oppose one another in their work: Every occurrence that happens in the heaven and earth can be attributed to one of these opposition forces. I consciously employ the technique of making black parts of the structure to portray Yin and creation; the white parts are nothing or void and represent for Yang and space. The black section stands for breeding; white section for accepting. The dark section creates about it the embodiment of creative art;

90 Chinese calligraphy is a form of calligraphy widely practiced and revered in the Sino‐sphere. The calligraphic tradition of East Asia originated and developed from China.

91 White and Black: Black and white are viewed as standard colours in traditional Chinese art and culture. These colours correspond to Yin‐Yang of night and daytime.

92 My new art philosophy: I want to create works that allow the Chinese techniques of painting (learnt in China) to become transformed and altered through my exposure to western techniques and culture.

61 the bright section brings to life the space of imagination. The black part is a “Philosophy” of embodiment and the white stands for a “Non‐Philosophy” of embodiment.

Each of these opposite forces has the power to make the other. My completion of the art making “Philosophy” occurs under the Yin. My consideration of the art idea “Non‐Philosophy” occurs under the Yang. Yang is derived from circularity and continuum, so that neither “Philosophy” nor “Non‐Philosophy” is recurrently predominant over the other.

Figure 34: Luping Zeng 2012, Primary version three‐Advanced Education, oil on canvas 145 x 125 cm.

Why were four pieces of painting combined to create this artwork? In Chinese culture, 'Four' signifies the broad universe and the ends of the earth. In Chinese idiom, there is 'Simian Barfang', which signifies far and near, and 'Wuhu Sihai' means that people come from all walks of life and from all over the world (Figure 34). In Western culture, the cross can be seen as the points of a compass, which also signals connection North, South, East and West.

According to another classical source of Chinese mythology, “Nuwa repairs the heavens” 93, four pillars were used to support the vault of heaven along the four borders of the earth. Dividing my work into four sections symbolises “Advanced Education” and to express the student's relationship (migration from China) with the supervisor (Australian Educator). It symbolises that students come from all walks of life and from all over the world meeting at the institute of education, and their linking and understanding both Western and Eastern cultures.

Figure 35: Luping Zeng 2012, the detail of version one‐Advanced Education, watercolour on paper.

93Nuwa repairs the heavens: Nuwa is a goddess in ancient Chinese mythology best known for creating mankind and repairing the wall of heaven.

My painting can be explored by free use of the viewers’ own aesthetic imagination. However, my annotations offer useful theories by linking Chinese traditional art with a news story of contemporary Australia (Figure 35), representing in outline the idea on which the Chinese culture is based and emphasizing the traditional theory of Yin‐Yang. In this painting, the two figures wear traditional Chinese dress – portraying the character of Chinese Jin dynasty people, supervisor and candidate. Yet, in traditional Chinese education large numbers of students were educated together rather than in a one to one relationship. This painting contains the essential characteristics of my new art philosophy, combining originality, different viewpoints, humour, sophisticated educational interpretation and showing a very different cultural view of life.

3.3 The Symbolism

As an optimist I am always obtaining new knowledge (Western way) from my supervisor in my current research. For example, a amusing combination of styles is applied within the painting, in which I represent my supervisor, a Caucasian Australian wearing traditional Chinese educator apparel in a contemporary Australian institute. The acupuncture points of Chinese medicine show the sense of imparted knowledge passed on through the acupuncture point, transmitting knowledge between the educator and the candidate.

Figure 36: Luping Zeng 2012, the detail of version three‐Advanced Education, oil on canvas.

Chinese artists acknowledge the deep influence of colour (white and black) and figuration (circle and cycle) as I do in my new art philosophy, as well as the original influence of Yin‐Yang moving through the ages like a gentle breeze, which I hold in my mind clearly as a precious value, sometimes comic but always my unique culture.

Figure 37: Luping Zeng 2012, the detail of version one‐Advanced Education, watercolour on paper.

Within my research, I integrate Yin‐Yang to present 'passion' in my new form of art. There are complex relations and forms, fictitious ways and different cultures. For example, the void in the painting, “Advanced Education” divides the painting’s form into emptiness (the Yang of the empty figure) and the detail of the finished painting (the Yin). As with Chinese Wood in Wu‐Xing, this figure was drawn into the position of golden rate, which is highlighted by the imaginary figures. In traditional Chinese painting, unfilled space is an important approach so I include this void within my composition.

Cosmology and the Feng Shui94 of the Chinese belief is that the element Wood affects the Wind, Moisture, Air, Minerals, Mana, Ink, Mind, Rubber, Paper, Plants, Poison, Wax, Carbon, Clouds, Health, and Space. Wood is represented by the colour green and rectangle as its shape. The Cardinal direction of Wood points to the East. It is symbolized by the planet Jupiter. The Myth creature that symbolizes Wood is the Azure Dragon (Feng 1934, p. 32).

94 Feng shui: believed to use the laws of both Heaven of Chinese astronomy and Earth to help one improve life by receiving positive air. 66

Figure 38: Luping Zeng 2012, the detail of version one ‐ Advanced Education, watercolour on paper.

My intentions are for my paintings to explore my new surroundings, immigrant cultures, Western science, belief systems, the environment and different cultures viewed through the lens of Yin‐Yang. My research is one of thoughtful and light‐hearted engagement with my current life situation and Australian contemporary culture (Figure 38).

In these paintings, I want to explore my contribution to Australia in the form of Chinese artistic expression and Ｉbelieve they will bring a fresh perspective for viewing Eastern and Western shared experience. My painting is sensing less seriousness in their emotive attachment to my Chinese heritage. I have abandoned the serious philosophical traditional usage of Yin‐Yang and have been more playful in incorporating Yin‐Yang in the form of my paintings.

In my second research painting “Bushfire Zone” (Figure 39), I portrayed evacuees waiting to return to their homes in the bushfire zone in Western Australia's Margaret River region. My source of inspiration was Sky News on 27th November 2011. The figuration of my painting is a Chinese traditional landscape in the background. The foreground locates the Australian bushfire zone. The news item realistically makes one aware of the problem of core ecological issues. A bushfire zone that razed 30 houses has decimated the beautiful natural landscape. The bushfire exemplifies the regular environmental news of climate change in contemporary Australian news.

Figure 39: Luping Zeng 2013, Bushfire Zone, oil on canvas, 123 x 91 cm.

In Chinese traditional Wu‐Xing95 belief, Fire is the flourishing symbol, or an object's (either animate or inanimate) successful period. Fire is the second stage of Wu‐Xing.

Fire is Yang in character. Its motion is upward and its energy is expansive. It is associated with summer, the South, the planet Mars, the colour red, hot weather, daylight, and the vermilion bird in the tree (Feng 1934, p. 16).

Cosmology and the Feng Shui of Chinese belief is that the element of Fire has an effect on heat, light, lava, radiation, sparks, plasma, explosions, blaze, oil, ash, smoke, glass, napalm, sun and matter. Fire is representede by th colour red and has a triangle as its shape. The cardinal direction points to the south. Fire is symbolized by the planet Mars and the mythical creature that symbolizes Fire is the vermilion bird. In relationship to the Yin‐Yang symbols

95 Wu‐Xing: is a fivefold conceptual scheme that many traditional Chinese fields used to explain a wide array of phenomena, from cosmic cycles to the interaction between internal organs, and from the succession of political regimes to the properties of medicinal drugs. 68

Fire is full Yang. Direction and Natural phenomena are ascending. The season is the summer, the climate is Hot; the development of Fire signifies Blooming.

Figure 40: Luping Zeng 2012, the detail of version three‐Bushfire Zone, oil on canvas.

My new philosophy is strongly influenced by rhythms, for example, the emotions and ideas of Yin and Yang, which is the strength of Han culture. My Chinese characters show a cogent desire to engage with contemporary Australian culture (Figure 40).

In the philosophy of the Wu Xing cycle two factors are significant: generation and overcoming. The way of generating is Fire which creates earth (ash), and the way of overcoming is Fire which melts metal.

Figure 41: Luping Zeng 2013, the detail of Bushfire Zone, oil on canvas.

In the painting above, the method of presentation employs Courbet’s oil technique. Courbet painted figurative compositions and painting subjects from animate life is considered realism, and included living events. For me, the inspiration for my contemporary art is my own research and own experience. These elements are considered to apply my composition. Expressed as a hypothesis, the Chinese traditional art representation in Figure 41 is transformed through my exposure to western style of 19th century oil technique.

Figure 42: Luping Zeng 2012, Explaining sketching one of form of Bushfire Zone, pen & ink on paper.

In the analysis of my work "Bushfire Zone", I have used the Yin‐Yang symbol as the main structure for the painting (Figure 44). Highlighting the point of a real story, for example, the scene of a service helicopter signified by the Yang dot, which in turn signifies the contemporary;e and th Yin dot signifies the scene of mist, which signifies the past. The issue of "Bushfire Zone" is located at the position of the Golden Ratio principle as a focus, for example the scene of "Bushfire Zone" was put at the 1/3 position, showing rich contexts, which provide connections to Western discipline.

Figure 43: Luping Zeng 2012, Explaining sketching two of Form of Bushfire Zone, pen & ink on paper.

Figure 44: Luping Zeng 2012, Explaining sketching three of form of Bushfire Zone, pen & ink on paper.

The arrows in Figure 44 make a movement of visual irradiation. The calligraphy and seals are a Chinese traditional characteristic style of painting and is used within this painting, as my new composition.

Figure 45: Luping Zeng 2012, Explaining sketching four of form of Bushfire Zone, pen & ink on paper.

The superpositioning of triangles was applied to make a strong form of composition. It can be thought of as the organization of the elements of art according to the principles of art‐pyramid96. The shapes of the mist create a soft sense to become a contrast between the triangle and the suppleness of the horizontal lines. Triangles form an important artistic device in the calligraphy. The triangle form is used, as I want to make a profoundly visually satisfying structure within the composition. My intention is to create a balance between stability and dynamic sensations. The reason for my use of the superpositioning of triangles is to create a form of panorama, that makes it profoundly satisfying to the eye. I suppose it is a balance between stability and the feeling of harmony engendered by that, and the more dynamic sensations given by the vertical axis and the sharp corners. The stability can be more or less precarious, depending on the relationship between the base and the height of the triangle (Figure 45).

96 Art‐pyramid: (from Greek) knew about the Golden Ratio, regarded as an aesthetically pleasing ratio in art. 73

Figure 46: Luping Zeng 2011, version one‐Bushfire Zone, watercolour on paper, 44 x 30 cm.

My new art philosophy includes a unique form of artistic narrative. I want to make my audience read their own stories through another’s eyes, and understand that culture is multifarious, often individual, but can also be frequently amusing. While some of my paintings have a humorous element in others I try to produce serious, challenging yet fresh visual dialogues. For example, my idea for "Bushfire Zone" was to engage seriously with the contemporary global issue of climate change (Figure 46). In question of my painting, I try to challenge people to develop a responsibility for sustainable lifestyles97. The questions my paintings were trying to engender a thoughtful response from my audiences.

97 Sustainable lifestyle: is that attempts to reduce an individual's or society's use of the Earth's natural resources. 74

Figure 47: Luping Zeng 2013, the detail of Bushfire Zone, oil on canvas.

In Figure 47, a detail of Bushfire Zone, I want to try to deal with some of the most contemporary serious, universal issues of humanity's behaviours and the social realities of life (financial and environmental issues). However, my obvious delight and my comfortable approach of production and narratives gives way to a state of anxiety. My approach is mindful of the contemporary global society and the daily conversation among many inhabitants about the latest government policies and doings. Such a combination of forms of narrative about reality provides commentary on a contemporary climate issue and an alternative history to replace the adage 'She'll be alright mate'. Sustainable environmental history, a real lifestyle to promote a healthy natural environment.

The mode and content of my paintings have changed in the same way that the meaning of Australian contemporary art has been transformed during this time. Inevitably, my attitudes have been appropriated both consciously and unconsciously by these cultural movements. I also wish to make an important contribution to this social and artistic movement.

Figure 48: Luping Zeng 2012, the detail of version three‐Bushfire Zone, oil on canvas.

In this detail of version three ‐ Bushfire Zone (Figure 48), I have depthed the trials of immigration, whilst undertaking artistic study, through a series of artistic cultural investigations and analyses. I organize the motif of my research: journeying, innovation, exploring and alteration. In doing this, I have critically drawn from my historic spaces of displacement as well as the current news of Australia which highlight the anxiety of participating in different cultures.

There are three elements in my paintings that I am trying to highlight: brightness, learning and drollness (Figure 49). I consider my audience needs brightness to engage in issues that challenge me every day. Learning is the answer to my recurring thoughts regarding the multiplicity of cultures. Drollness is the inevitable warmth of our spirits.

Figure 49: Luping Zeng 2013, the detail of Bushfire Zone, oil on canvas.

Since I migrated to Australia in 2002, I have made an effort to reconstruct a new identity. In reality my efforts are reconstituting my assimilation with mainstream contemporary Australian culture. Again, Chinese references are transmitted within the painting, including Yin‐Yang, Chinese culture, art history and philosophy. Such choices incorporated into the painting actually were a response to the composition of my new approach to my ideal: to reinvent my art by way of the process of visual art 'cross‐fertilization' (Figure 50). And this cross fertilisation is the very reality and future of contemporary Australia. The world does not only consent to the achievement of any single cultural form, whether the Western culture or the Eastern culture, rather it is always developing new processes of cultural argument, conferring and mixing.

Figure 50: Luping Zeng 2013, the detail of Bushfire Zone, oil on canvas.

The Chinese Reflection

My paintings try to produce delight, challenge and simultaneously provide a fresh visual dialogue. The mode and content of my paintings have changed in the same way that the meaning of Australian contemporary art has been transformed during this time. Inevitably these cultural movements have been appropriated into my thinking as I contribute to this social and artistic movement.

In my “Bushfire Zone", I hope to bring a different culture to 'plant' into the Australian ground in contemporary Australian circumstances among Australian people. By challenging geography and relocating me into a new environment, I have made progress in my personal experience, as to how my art could sense the difference resulting from immigration and at the same time reinventing my identity. For example, my research based painting “Bushfire Zone” shows the current movement of my new art philosophy. In my research, I have been thinking long and hard about the implications of climate for humans and the

78 impact of human behaviour, so I was pleased to find my audiences both in exhibition and online appreciated my artistic commentary on Chinese Yin‐Yang and the current news of Australia.

Figure 51: Gao Kegong 1248–1310, Evening Clouds, Yuan Dynasty artist.

I am influenced by the artist Gao Kegong (1248–1310) a Chinese painter known for his landscapes. For example, the landscape of the background of my painting “Bushfire Zone”, is appropriated from Gao Kegong’s painting “Evening Clouds”98 (Figure 51) which portray a dense evening mist combined with a stream, with the village cottages in the bottom segment from the ancient temple nestled in a high peak in the upper part of the painting. The body of the mountain is created with overlapped ink washes, and presents a solid, impregnated feel. Where light falls, a cool golden ink wash is applied, representing the last rays of the ending day; the hamlet goes to slumber from its idyllic daytime, immersed in a dreaming peace.

In this painting (Figure 51) I wish to pursue Gao Kegong’s idea of the peace and stability of the environment as a concern and contrast it to current concerns about climate change issues, natural disasters and development causing environmental problems. My secondary purpose is to make comment on the

98 Gao Kegong’s painting "Evening Clouds": The description of natural beautiful Chinese old landscape with the mist flow, and has caused, rich poetic rhythm, full of vitality.

79 experience of an immigrant’s growth and re‐establishment in a new environment.

Figure 52: Luping Zeng 2012, Primary version two‐Bushfire Zone, charcoal on paper, 44 x 30 cm.

In short, audiences from different generations and countries have different appreciation of a painting as people of different cultures have different understandings. Viewing a painting is often the best way for the audience to understand the artist’s philosophy within the painting by relating it to their personal life, experiences and the issues within their society.

For example, my research paintings “Bushfire Zone” (Figure 52) and “NSW Hit by Heavy Storms” (Figure 53) also demonstrate the movement of my new art philosophy. In my research, I have been critically thinking about the implications of climate change for humans and the subsequent impact of human behaviour. Again I was to delight with audience feedback via email and the web, which indicated awareness of my approach to bring together both Chinese Yin‐Yang and current news items of Australia today.

Figure 53: Luping Zeng 2012, Primary version two‐NSW Hit by Heavy Storms, charcoal on paper, 44 x 30 cm.

Critics in a local newspaper review of my exhibition held at Blacktown Art Centre from April 2013 have variously labeled me a Chinese artist, or a Chinese‐Australian artist. I may be both, but I am most importantly an artist. My thoughtful and at times humorous engagement with my own lifen situatio and contemporary culture have contributed to the creation of an artistic language that draws on multiple frames of reference and allows for a multiplicity of audiences.

3.5 The Western Influences

The influence of David Hockney99 (English, 1937‐ ), also an immigrant, breathes humour into my works, offering an evolving movement and imagination. For

99 David Hockney: is an English painter, draughtsman, printmaker, stage designer and photographer, born 9 July 1937.

81 example, Hockney’s painting is appreciated as synesthetic100 colours to musical motivation. In my “Advanced Education”, this element of 'synesthetic' colours is presented throughout painting. The applications of the 'synesthetic' colours include the Chinese musical instruments ‐ ancient zither (Guzheng)101. This 'synesthetic' of colour and brushwork is used liberally in my painting to symbolise the rhythm of purity. However, my approach in the structure of this painting is essentially based on the principle of Yin‐Yang and Wu‐Xing. I have shown my own 'synesthetic' through the structure of the background colours which was inspired from a piece of Guzheng music that I was listening to while producing this painting.

Figure 54: David Hochney 1974, Artist and Model, half‐ground etching, soft‐ground etching, 57 x 44 cm.

My initial idea for the painting was inspirited from David Hochney’s work 'Artist and Model'. For example, David Hochney’s etching 'Artist and Model'

100 Synesthetic: from the ancient Greek, "sensation," is a neurological condition in which stimulation of one sensory or cognitive pathway leads to automatic, involuntary experiences in a second sensory or cognitive pathway.

101 Guzheng: is a Chinese plucked zither. It has 18‐23 or more strings and movable bridges.

82 was made as a tribute to Picasso102 (Figure 54). In my painting I proposed to express my regard for my supervisor. I drew some sketches from my imagination, such as the different angles of his face (Figure 58 and 59) and the scene of our first meeting (Figure 55, 56 and 57). I portrayed myself as the candidate's model. The void (white space) within the disciple expresses my failing, but also places me in the context of the supervisor / candidate relationship learning again and again from Dr Vaughan Rees (Figure 60, 61 and 62).

Figure 55: Luping Zeng 2011, the Scene of Meeting with Dr Vaughan Rees, Pen ink on paper, 20 x 16 cm.

102 Pablo Picasso: (25 October 1881 – 8 April 1973), was a Spanish painter, sculptor, printmaker, ceramicist, and stage designer who spent most of his adult life in France.

Figure 56: Luping Zeng 2011, the sketch of Advanced Education, pen ink on paper, size 20 x 16 cm.

Figure 57: Luping Zeng 2011, the Form of Advanced Education, pen ink on paper, size 20 x 16 cm.

Figure 58: Luping Zeng 2011, the Portrait of Dr Vaughan Rees, Pen ink on paper, 20 x 16 cm.

Figure 59: Luping Zeng 2011, the Portrait of Dr Vaughan Rees, Pen ink on paper, 20 x 16 cm.

Figure 60: Luping Zeng 2012, Explaining sketching of person of Advanced Education, pen & ink on paper.

Figure 61: Luping Zeng 2012, the Portrait of Dr Vaughan Rees, pastel on paper 30 x 44 cm.

Figure 62: Luping Zeng 2012, the Portrait of Dr Vaughan Rees, pastel on paper 30 x 44 cm.

4.6 The New philosophy

Humour is expressed aesthetically through overstated figures, jokes and theatrical sequences. I always attempt to create some elements of humour within my work, as humour releases the body from the harshness of reality. My goal is for my artistic talents to bring happiness and humour to others. For example, my painting “Advanced Education” makes a humorous link between the Confucian education system and the form of my painting which is taken from Gu Kaizhi’s painting “Wise and Benevolent Women”. My aspect shows an appreciation of education and belief, a meaning of golden construction, highlighted by acupuncture points inscribed on the void figure which is paralleled with the western process of education (Figure 63), such as a Western educator and the Western contemporary education system, and The Chinese tea culture. Here Yin‐Yang’s element of Wood was applied within my compound of iconographic symbols within this painting. The student is like a small sapling while the teacher is like the gardener who nourishes growth to ensure fullness and strength.

Figure 63: Luping Zeng 2012, the detail of Primary version two‐Advanced Education, charcoal on paper.

Yin‐Yang can also be used to represent 'passion' in my research‐generated artwork. There are complex relations and forms, created and reported stories as well as the incorporation of different cultures. For example, the void in the painting, “Advanced Education” divides the painting’s form into emptiness (the Yang of the empty figurate) and the detail of the finished painting (the Yin). As with Chinese Wood in Wu‐Xing, this figure was drawn into the position of the golden ratio, which is highlighted by the imaginary figures.

Figure 64: Luping Zeng 2012, Primary version three‐PM Gillard Honours US War Dead, oil on canvas,

145 x 125 cm.

My research then is trying to create new perceptions. Passion or 'drivenness' to contrive a new visual dialogue is strangely bewitching with different narratives and backgrounds. I would like my audiences to be participants in the stories, which I hint at, to be interested and to find humour and conviction. I hope by viewing my paintings that the audience will be as enthusiastic as those of Confucius’ time that were enthusiastic about nobility, deep study and knowledge (Figure 63). My figurative elements integrate with Wu‐Xing producing a shadowy narrative of assumption, delivery, contact and invention. For example, the scene of Julia Gillard pays tribute to war dead at Veterans Day ceremony (Figure 64) creates a good environment situated in a Chinese traditional peaceful landscape. The cloud across the front of the mountain signifies the 'Chinese Feng Yun'103 to discourse the scene of ceremony (Figure 65). The stability of the mountain contrasts with the plan of the cloud. The painting “PM Gillard Honours US War Dead” divides the painting’s form into the insignificance of Chinese landscape (the Yang of the past figurative view)

103 Chinese Feng Yun: means historic events. 89 and the significance of the event of the portrayed individuals (the Yin). As with Chinese Metal in Wu‐Xing, this figure was drawn in the position of Golden Ratio, which is highlighted by the imaginary figures. Again, I have included a sense of empty space (the white within my composition to contrast the Yin. The cultural differences have been instead replaced by a fresh, more imaginative visual emergence with my painting.

Figure 65: Luping Zeng 2012, Explaining sketching one of form of PM Gillard Honours US War Dead.

The painting produced includes an ideal of production, method or form and the cultural standard. The conceptual philosophy is that painting is the artist acting on the representation of the personal. Therefore the first question to be confronted is the relationship between the object and me. In Eastern Jin time, artist Gu Kaizhi104 (344 ‐ 406 AD) put forward words of 'On Painting'105: "In figure paintings the clothes and the appearances were not very important. The

104 Gu Kaizhi: (c. 344‐406) is a celebrated painter of ancient China.

105 'On Painting': Gu Kaizhi wrote a book of painting theory.

90 eyes were the spirit and the decisive factor" (Zhuo 2011, p. 11). The meaning is to express the idea, which can be wonderfully produced. The Tang dynasty artist Zhang Cao106 (no detail about birth and death) named this production philosophy more specifically as an “act of the outside, getting a fresh idea” (Mo 2008, p. 32).

Figure 66: Luping Zeng 2011, Primary version one‐PM Gillard Honours US War Dead, watercolour 44 x 30 cm

106 Zhang Cao: was a Chinese art historian, scholar, calligrapher and painter of the Tang Dynasty, especially good at landscape painting of the turquoise. 91

My painting “MP Gillard Honours US War Dead” shows the event the Australian Prime Minister Julia Gillard having paid tribute to America's war dead at a moving Veterans' Day ceremony in Hawaii. My source was from Sky News 12 November 2011(Figure 66). The form of my painting, like that of the Chinese traditional landscape, locates the white space layer to consciously make the audience aware of the question of Australian territorial issues. A beautiful traditional landscape has added to the country's peace‐loving nature. Due to the country's political freedom and more significantly than this one off memorial ceremony of the Australian news of the day is that Australia will never forget the sacrifices the US made for peace especially in the Battle of the Coral Sea that diminished Australia's fears of a Japanese invasion. The deeper meaning of this work portrays the fragility of political liaisons, which are contrasted with the stability of the traditional Chinese luxuriant landscape laced with white clouds, which produces an almost peaceful impression.

The sense of Earth is conveyed in the military strategy and martial arts in Chinese conventional (Wu‐Xing) belief. Earth is the third element of Wu‐Xing within Yin‐Ying. In the process of rotation, the Earth manipulates Water and is controlled by Wood. Earth is also produced by fire's ashes, and in turn generates metal. Earth is a concept positioned within the territory of the country in the Chinese understanding. It is a balance of war and peace, which is development and protection together. The action is inward people’s greed to occupy another country’s land; the power is warring and defending. The colour is yellow and the planet Saturn is linked with Earth (Feng 1934, p. 61).

Also in Chinese thought the Earth is related with the qualities of perseverance, consideration, realism, challenge and permanence. The elements of Earth are also 'fostering' and 'exploring' to represent all things together, for bringing harmonious effect, indestructibility and permanence. Other identities of the Earth’s elements include aspiration, obstinacy, reliability and strong personal aim.

Figure 67: Luping Zeng 2012, Explaining sketching one of form of PM Gillard Honours US War Dead.

Earth is also represented in my painting of characters. For example, there are events of "MP Gillard Honours US War Dead". When I was linking Wu‐Xing element of Earth to today’s Australian peaceful environment, I researched extensively the issues of defence of Australia, to understand why Gillard paid tribute to the war dead at the Veterans' Day ceremony, and what the significant is for US sailors during the Battle of the Coral Sea that diminished Australia's fears of a Japanese invasion. I was advocating for my compositional harmony between the Earth and the Australian peace‐loving nature.

The triangle dis use to locate the mountainous background. The triangle shape may have been first used as early as with the Egyptians in the design of the pyramids (Figure 67). For example, I draw the shape of four lines into this figure. The image of the feature is included into a triangle to make the structure stable, with proportions according to a 'Sacred Ratio107'. Moreover, I also used the golden rectangle featured in a famous experiment. Ranging from a square to a double square, there is a marked preference for using the golden rectangle to create an appearance of MP Gillard from the door of plane, to make a visual focus. A horizontal line would span from the past event (the

107 Sacred Ratio: was the Great Pyramid of Giaz (4700 B.C.) 93 triangle) to contemporary news (the base rectangles), the triangle cut the base in Golden Section.

Figure 68: Luping Zeng 2012, Explaining sketching two of form of PM Gillard Honours US War Dead.

The structure of this painting uses Yin‐Yang adding the Golden Ratio as a composition combining symbols the East and the West (Figure 68). The philosophy from Yin‐Yang uses Yin, which signifies west, and night, and the Yang signifies east, and day. This structure creates a visual focus of narrative as bringing together the cultures of East and West. For example, my attention really wants viewers to look at the scene of MP Gillard coming out of the airplane door. This structure focuses the attention of the viewer to the Golden Section of Julia Gillard story. The story of MP Gillard had been distributed across several golden subdivisions within this painting.

Figure 69: Luping Zeng 2012, Explaining sketching three of form of PM Gillard Honours US War Dead.

A pentagram shape108 is employed to distinguish line segments of different lengths, a Western Golden Ratio added to the Yin‐Yang in the painting as a main combining structure for the painting (Figure 69). In this painting, a golden triangle can be used to locate one of the structures underlying pentagrams to like the contemporary liken Australian event with the Chinese traditional landscape.

Overall, Figures 64 ‐ 69 explore fresh ideas for my research. My deep investigation brings a different culture to share with Australian people in contemporary world. By challenging geography and relocating myself into a new environment, I have made progress in my personal experience, in how my art could renew my identity. This intensely personal experience has led to my development of my new philosophy based on Yin‐Yang. My new art philosophy can be positive by being conducive to fresh ideas with different cultural interpretations. This has worked to the benefit of my research and has also made it possible for me to react to my background of work. I want to challenge my audiences with my paintings and make them work to understand the unique culture of the Yin‐Yang.

108 pentagram shape: is the Golden Ratio plays an important role in the geometry of pentagram. 95

My Laws of Art Based on Yin‐Yang

Journeying into new ways of life within Australian society has intensified the development of my art career. My outer vision composes and commentates on what I see in contemporary art here, while an inner editing lessens these influences. The perceptions, conventions and different cultural events, which I experience, activate thought and dialogue on human civilization. These experiences are sifted and reordered in terms of my accumulative personal experiences and culture.

Figure 70: Zhao Ji, ca. 11th century, Plum and Birds.

Figure 71: Luping Zeng 2013, Relationship of Barack and Julia, oil on canvas, 123 x 91 cm.

My conceptual philosophy is expressed in "Relationship of Barack and Julia" which is my acting on the representation of the impersonal (Figure 71). The form of this painting is similar to Chinese painting practice, which includes an ideal of production, method or form, and cultural standards. Therefore the first question to be confronted is the relationship between my aim and my approach. For example, the form of the painting appropriates some aspects

97 from Zhao Ji's109 painting “Plum and Birds110” (Figure 70). One appropriated element is a seal111 placed, in a Chinese traditional context, often used in artwork both in painting and calligraphy as the artist's personal explication of the ideas behind the work. Chinese calligraphy and painting are closely related. Chinese calligraphy is concomitance itself from Yin‐Yang cultural arts because the Chinese calligraphy highlights the artist’s emotion and is charged with energy. In Chinese understanding, calligraphy is direct life experienced through energy in motion that is shown as impressions of the artist on the Chinese painting. Time and rhythm in variable space are its key components.

Figure 72: Luping Zeng 2012, the detail of version one‐Relationship of Barack and Julia.

Within my investigation, Yin‐Yang is used to present 'enthusiasm' in my new approach to art. There are multiple relations and forms, fabled ways and different cultures. For example, the scene of Barrack Obama and Julia Gillard suggests their good relationship by situating them in a Chinese traditional peaceful landscape. Two birds’ love‐in in the Chinese traditional painting “Plum

109 Zhao Ji: (November 2, 1082 – June 4, 1135) was the eighth and one of the most famous emperors of the Song Dynasty of China, with a personal life spent amidst luxury, sophistication and art but ending in tragedy.

110 Plum and Birds: was describing his full of hope, ideal, love and rich in drawing this painting's heart, a quiet comfortable painting beautiful fantasy kingdom.

111 Chinese seal: is a style of art in China, it is engraved with calligraphy, to make the art of seal cutting, with a history of 2000 years (BC 770 ‐ before 221). 98 and Birds” means establishing their future, harmonious, ongoing political relationship (Figure 72). The idea of the painting is how Yin and Yang are used to express the inter connection and interdependence of seemingly opposite forces in the natural universe, and how they relate to each other cyclically.

Figure 73: Luping Zeng 2012, the detail of version one‐Relationship of Barack and Julia, watercolour on paper.

The red lines of the painting signify the 'Chinese Tie' (in Chinese custom means engaged to be married) to highlight the current relationship between Australia and America (Figure 73). The painting of "Relationship of Barack and Julia" divides the painting’s form into the insignificance of Chinese landscape (the Yin of tthe pas figurative view) and the event of the portrayed Barack and Julia (the Yang). As with Chinese Metal theory in Wu‐Xing (see Figure 74), this figure was drawn into the position of the Golden Ratio, which is highlighted by the imaginary figures. In traditional Chinese painting, insignificant space is an important approach so I include this insignificance within my composition to focus the viewer's attention on the two eminent persons.

Figure 74: Yin yang from a golden spiral.

Metal is the fourth phase of Wu‐Xing. In the philosophy of the Wu‐Xing cycle, fire is Metal’s nemesis as fire burns Metal. Similarly, Metal is Wood’s nemesis, it is stronger and can be used to chop Wood. Metal is generated from the earth and can make soil form, it is like a human skeleton iron ore forms can protect earth from being attacked from outside. Cosmology and the Feng Shui of the Chinese belief is that the element of Metal affects lightning, magnetism, electricity, rust, gold, silver, steel, iron, platinum, titanium, copper, bronze, brass, blood, forge, stars, diamond, and energy.

Metal is represented by the colour white and has circularity as its shape; the cardinal direction points to the West; it is symbolized by Venus. The mythical creature that symbolizes Metal is the white tiger. The stage is new Yin. The direction is propelling forward while the natural phenomena are contracting and interior. The season associated with Metal is autumn; the climate is dry and development signifies withering (Feng 1934, p. 112).

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Figure 75: Luping Zeng 2012, Explaining sketching one of form of Obama with Gillard, pen and ink on paper.

The methodology of the structure of this painting is firstly using Yin‐Yang’s Golden Spiral112. The Golden Ratio in the Chinese tradition is the Golden Mean or the middle way (Figure 74). The origin is from an ancient philosophy of Yin‐ Yang, which means half and half, day and night which is described in various traditions. The philosophy of the Golden Mean was introduced by Confucius in Spring‐Autumn era. Yin‐Yang was often discussed within ethical situations, which required doing well.

Secondly, in the notions of Greek philosophers such as Socrates113 and Plato114, the Golden Ratio115 indicates an identity of beauty. The Golden Ratio in ancient

112 Yin‐Yang’s golden spiral: A symbol in Chinese philosophy to denote balance, harmony between opposite and complementary forces.

113 Socrates: (c. 469 BC – 399 BC) was a classical Greek Athenian philosopher.

114 Plato: (428/427 BC– 348/347 BC) was a philosopher in Classical Greece.

115 Golden Ratio: is about the number and has fascinated Western intellectuals of diverse interests for at least 2,400 years. 101

Figure 76: Luping Zeng 2013, the detail of Relationship of Barack and Julia, oil on canvas.

Figure 77: Luping Zeng 2013, the detail of Relationship of Barack and Julia, oil on canvas.

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Western civilization was found in the mythical Cretan tale of Daedalus116 and Icarus.117 The geometry of his Golden Ratio is applied to the painting to make this harmonious structure in accordance with the principle of the Golden Ratio. The Golden section for the painting's form is that the discoveries of the proportions of the Golden Ratio. I am trying to demonstrate a pleasing effect on my composition. Every part of the painting down to the smallest detail of the picture is making this proportion as my new way of exploring form. For example, in the dots area, I was concentrating on that because I was putting Obama's hand to take hold of Gillard's wavering hand. I wanted to focus attention on that act to suggest a strong relationship between an older, wiser brother and a less experienced sister; a talking Obama and Gillard in a teacher and student like relationship, which illustrates their realty (Figure 76 and 77).

Figure 78: Luping Zeng 2012, Explaining sketching two of form of Obama with Gillard, pen and ink on paper.

The grids of structure as a hidden form for the painting signify a country’s territory (Figure 75), referring to the land’s occupancy and region of control for business dealings. In the painting, its elemental grids are applied to show the new order is further established in the world, which is the real meaning of the Trans‐Pacific Partnership with the US President Barack Obama. He spoke to the

116 Daedalus: was a skillful craftsman and artisan. He is the father of Icarus and Iapyx and the uncle of Perdix.

117 Icarus: is the son of the master craftsman Daedalus. 103

Australian Parliament emphasizing America's determination to be involved in the Asian‐ Pacific region118.

I also incorporated a vertical line from the top of the triangle to the bottom, which would cut the bottom into a Golden section. A Golden section shows a triangular composition ‐ holding together a complex subject within three straight lines (Figure 78). The different lengths of the sides and positions are a small variation to create my new philosophy of “Non‐Philosophy”.

Figure 79: Luping Zeng 2012, Explaining sketching three of form of Obama with Gillard, pen and ink on paper.

The Iceberg Principle119 is a representation which considers the narrative of the painting as well as the subject‐logic level and which also incorporates the

118 Asian‐ Pacific region: United States is a historic Pacific power whose economy, strength, and interests are inextricably linked with Asia’s economic, security, and political order.

104 invisible emotional level. The story making components according to the Iceberg principle include the appearance of the subject‐stories, which are policies, build‐up, procedure and effect, and total 1/3 of the overall the story. The whole story level includes relationship processes, social communications, manner and incentives and total 66% approximately. This principle is valid for my composition, in order to achieve a broad level of acceptance and a new visual dialogue of implementation (Figure 79).

In discovery and further focuses, I was trying to make my art unique. I have been influenced by my discovery of Australian culture and have arrived at a form of Australian contemporary art that is neither purely Eastern style nor Western style, but an amalgam of both.

For example, I have identified my new artistic theme as Australian contemporary politics. My work was a logical event from my painting "Relationship of Barack and Julia", and expresses my concern with both human rights and regional security. These issues came to a head when President Barack Obama spoke to the Australian Parliament emphasizing America's determination to augment its presence in the Asia‐Pacific region. This also showed that Australia believes the Trans‐Pacific Partnership has the potential to serve as a building block for the ultimate goal of free trade deals covering the entire region.

119 Iceberg principle: is the writing style of American writer Emest Hemingway. The iceberg principle states that it’s not what’s above the surface that will sink you but what’s under the surface. 105

Figure 80: Luping Zeng 2013, the detail of Relationship of Barack and Julia, oil on canvas. Figure 80 acts simultaneously as a narrative of my Chinese background and as a narrative of current Australian news stories. This new form of visual art will show a unique combination of societies and cultures with historical references explored through the use of numerous Chinese influences.

A fresh more imaginative, visually creative output has occurred with the stage‐ by‐stage forward development of my painting within the rich circumstances of my last decade in Australia.

Since Yin‐Yang was the first of the great Chinese philosophies and has remained revered in Chinese philosophy, as an application to real Australian contemporary news it creates new cultural styles between briefness (Yin‐Yang) and intricacy (Australian contemporary news), narrative and humour, international perspectives and the concerns the regarding problems of the current climate change.

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Figure 81: Luping Zeng 2013, NSW Hit by Heavy Storms, oil on canvas, 123 x 91 cm.

For example, I am facing the challenge of the unavoidable clash of cultural values intrinsic to immigration. My painting “NSW Hit by Heavy Storms” (Figure 81) is still concerned with eastern and western culture, and my inclusion of Australian current news is important. I am trying to compare the serenity of the Chinese background against the disturbing news story. Perhaps it is signalling my artistic move to my “Non‐Philosophy” or to my passionate stage, which incorporates both my past in Chinese and my new life in Australia.

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Figure 82: Luping Zeng 2012, Primary version three‐NSW Hit by Heavy Storms, oil on canvas 145 x 125 cm.

This painting “NSW Hit by Heavy Storms” shows the event of the NSW flash‐ flooding across Sydney and the Hunter region. My source was Sky News 12 December 2011, which reported that up to 100mm of rain fell across Sydney and the Hunter region. This painting’s shape of the Chinese traditional landscape below the space layer (see the lower left hand section of the painting) of the Australian contemporary news of the localised flash flooding raises to consciousness the problem of kernel ecological issues (Figure 82). A flash‐flooding zone is added to a beautiful traditional landscape. My painting, the news of contemporary environmental climate change is compared with the past Chinese verdant landscape, which is laced with white clouds for an almost mystical effect.

The intention for this painting is that I use Yin‐Yang philosophy as a tool to explore important issues. Some elements have been appropriated from Wang Hui’s120 painting “The Peach Blossom Fishing Boat”121 (Figure 83) as an example

120 Wang Hui (1632–1717) was a Chinese landscape painter.

121 The Peach Blossom Spring: illustrates the lines from T'ao Yüan‐ming's (365–427) prose poem ,"which relates how the fisherman stumbled upon the Spring:" Once he was going up a certain stream. 108 of a past sustainable environment to highlight the contrast with the issue of climate change which upsets the balance of human development and the natural environment.

Figure 83: Wang Hui 1632‐1717, The Peach Blossom Fishing Boat, ink and colors on paper, 28.5 x 43 cm.

The elements incorporated from Wang Hui's work for the exploration of Yin‐ Yang are light and shade. Yin‐Yang has more than just one overtone. Essentially, Yang signifies 'sunlit', so it correlates with the day and more dynamic action (Figure 84). Yin, however, signifies 'shaded', and is likened to the nightd an less dynamic action.

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Figure 84: Luping Zeng 2012, Explaining sketching one of form of NSW Hit by Heavy Storm.

Figure 85: Luping Zeng 2012, Explaining sketching two of form of NSW Hit by Heavy Storm.

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For the Chinese, peach blossom is a very significant symbol of the natural environment. Typically, it represents a beautiful and peaceful place and often holds an ideal of sustainable living or feminine dominance. Within the language of herbs and herbal lore of the Chinese, the cherry blossom is often the symbol of good luck (Figure 85).

Figure 86: Luping Zeng 2012, the detail of version three‐NSW Hit by Heavy Storms, oil on canvas. In trying to make my art unique, I have arrived at a form of Australian contemporary art that is neither eastern nor western style. For example, I have taken as my artistic theme Australian climate change. My painting “NSW Hit by Heavy Storms” in as a logical step towards expressing my concerns with both ecological issues and our 'at risk' relationship with nature. These came to a question of how to develop a balance between human beings and sustainable lifestyles (Figure 86).

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Figure 87: Luping Zeng 2012, the detail of version three‐NSW Hit by Heavy Storms, oil on canvas. My hope is that my paintings will act as narrations both of my Chinese background and of contemporary Australian lived experience. This new form of visual art will bring together unique combination of society and cultures. One technique is to achieve this is demonstrated by the horizontal and vertical scripts. While the vertical script in Chinese painting is a traditional practice, for western art it is somewhat unusual (Figure 87).

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Figure 88: C. Alsina, Golden Ratio in Geometry

The symbol of "NSW Hit by Heavy Storms" is the application of the Golden Ratio principle as the analysis of the painting structure. The Golden Ratio in a regular pentagon (Figure 90), which can be a forming structure. The accuracy of the Golden Ratio is assured by using a template (Figure 88). When the gauge is adjusted the middle arm will always show the golden section or phi point between the two outer arms. One solution to the problem of bisecting the Yin‐ Yang symbol by straight edge and compass is shown in the diagram Figure 89.

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Figure 89: Luping Zeng 2012, Explaining sketching four of form of NSW Hit by Heavy Storm.

Examples in this painting of the divine proportion are abundant: the cochlea in the inner ear, the veins of water, the shapes in trees, the mist, and the contemporary climate issues of world. The principle of the Golden rule is used within my painting to create a sense of cultural combination as an expression of my physical movement from place to place.

Figure 90: Luping Zeng 2012, Explaining sketching four of form of NSW Hit by Heavy Storm.

The process of reflection within my investigation is demonstrated by my personal approach of applying Yin‐Yang to represent 'sustainable lifestyles concerns' in my art to achieve complex, multiple relations and forms, mythological ways and different cultures. For example, the view of "NSW Hit by Heavy Storms" contains contemporary global issues within a Chinese traditional sustainable landscape. The Peach Blossom of the painting signifies

114 the 'sustainable act‐lifestyle' to discourse the relationship between human development and issues of current environment damaged. "NSW Hit by Heavy Storms" divides the painting’s form into the insignificance of the Chinese landscape (the Yang of the past figurative view) and the event of the portrayed issue (the Yin). As with Water in Wu‐Xing, this figure was drawn into the position of the pyramid, which is highlighted by the elimination of the concentric circles in Figure 86 once again within my composition, I have included insignificant space to communicate contrast.

Figure 91: Luping Zeng 2011, Primary version one‐NSW Hit by Heavy Storms, watercolour on paper, 44 x 30 cm.

Expressed as a hypothesis, the painting uses traditional Chinese art representation, which is transformed through my exposure to the Western style of 19th century oil techniques. For example, the specific approach presents global issues of climate change through the scene of "NSW Hit by Heavy Storms" (Figure 91). In "NSW Hit by Heavy Storms" however water is represented as a result of the problems of the current climate change. There is a risky relationship between the behaviour of mankind and the reaction of nature, between human beings and sustainable lifestyles.

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Contemporary Australian landscape and compositional considerations of climate change and concern for the natural environment are used to explore a pivotal consequence of my research. This is associated with social and environmental issues, which are depicted as risks for Australian contemporary life. These are highlighted so as to integrate them into an environmental problem both offering a symbolic and visual dialogue.

Ecological concerns are also represented in my painting of characters. For example, there are events of floods in Australia. When I was linking to the Yin‐ Yang element of water for recent natural disasters, I researched extensively the ecological issues of earth, understanding the impact of a damaged environment. I was struggling for my compositional concord between the Yin‐ Yang and contemporary Australian news.

Figure 92: Luping Zeng 2012, Beauty, oil on canvas 92 x 61 cm

"Beauty" suggests unequivocally the artist as both an Australian immigrant yet traditionally Chinese. Impressions are passed on, female mystery–Yin is expressed and captures the narratives of women’s lives both past and present. “Beauty” (Figure 92) shows this cultural movement and the changing position and role of females within society. As in my new art approach “Non‐ Philosophy”, my ideas develops through the different cultures, and my painting captures these ideas in a caring and enlightening way. Through this painting, I

116 aim to show that in the contemporary world, women now play a more important role in improving humanity, compared to their historical position, where men had greater importance.

“Beauty” displays an Australian contemporary woman where two aspects contribute to beauty: both the physical surface and internal qualities such as intelligence or kindness. In contrast, the background use of Zhou Fang122’s “Beauties Wearing Flowers”123 (Figure 93) shows the leisurely and carefree life of court beauties in the Chinese Tang Dynasty. A comparison of Chinese traditional beauty and contemporary Australian beauty displays differences in social roles, behaviours and cultural perspectives.

In Yin‐Yang philosophy, women are presented as colourful, while men are represented through an absence of colour. In Yin‐ Yang philosophy, the Yin and Yang represent contrary natures that are combined to bring about concordant harmony. The meaning of Yin Yang’s beauty is the face of temperamental beauty that not only includes the physical body, but also cultivates woman’s inner beauty as more important. Truly beauty is a concordance of surrounding experiences; the extrinsic beauty demonstrates the inner beauty. This will be clear in the woman’s appearance. In Yin ‐ Yang, the natural beauty and the cultivated beauty are looked on together as the total evaluation of beauty.

122 Zhou Fang (c. 730‐800 CE) was one of two influential painters during the mid‐Tang dynasty.

123 Beauties Wearing Flowers, by Zhou Fang of Tang Dynasty (618‐907). It depicts the comfortable, gorgeous, happy life of noble women in the Tang Dynasty. This painting is set on a scroll, 180 cm long and 46 cm wide. 117

Figure 93: Zhou Fang of Tang Dynasty (618‐907), The detail of Beauties Wearing Flowers.

However, the Chinese Yin‐Yang has never been explored through its parallel aspects that is, the Yin alongside the Yang. Doing so creates a lens of cultural difference between simplicity (Yin‐Yang) and intricacy Australian news items, narrative and humour, international perspectives and national concerns.

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CHAPTER FOUR REFLECTIONS

4. Past Personal Approach for Art Practice

My approach is currently to explore the spirit of Yin‐Yang, to the extent that it can uniquely embody me as an immigrant artist from China. My research for the decade 2002 ‐ 2012 has allowed me to create artwork, which has many layers of meaning. One could say that my artistic theme is the space between my perceptions of a context within the realm of Yin‐Yang and my human experiences of 'being and losing' that add a uniquely personal insight. My art expresses my personal approach to research “Non‐Philosophy” which emerges from modern Australian narratives, of new visual duologue and a fresh art style. For example, “Relationship of Barack and Julia” (Figure: 94) consciously draws the audience’s awareness to the questions of international relations.

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Figure 94: Luping Zeng 2012, the detail of Primary Version Three‐Relationship of Barack and Julia.

My personal philosophical practice of “Non‐Philosophy”, mainly the bringing together Eastern and Western cultures, provides a cultural frame of reference for this examination. I have always been intrigued by the extrinsic self in the

120 world which is intimately related to becoming an intrinsic self: In my case Chinese and Australian, mostly feeling neither having ‘become’ nor 'transformed’ but somehow both (Figure 93).

Figure 95: Luping Zeng 2012, Primary version two‐Relationship of Barack and Julia, charcoal on paper, 44x30cm.

My research also has been creating narrative paintings within the philosophy of the five elements of Wu‐Xing. The importance of these elements is to highlight Yin‐Yang’s cosmic embodiment and fundamental influences to act

121 beyond the realm of mankind’s involvement in daily activities to the more important matter of being human. In my research for my individual works I have applied the five elements of Wu‐Xing referencing pertinent textual quotes that express basic subsistence, which is philosophically how I interact with the world.

4.1 Chinese Approach for Art Practice

My approach is to become well grounded in the “five elements” of Wu‐Xing, in order to inform my own personal philosophy of “Non‐Philosophy”. This is possible because the five elements of Wu‐Xing are expressed in contemporary global issues since they are concerned with acting in the world: for human beings to aspire to an earthly sustainable lifestyle. Since local audiences have some familiarity with French realism and the work of painters such as Courbet (Figure 96), I use the technique of oil painting to engage my Australian audience.

Figure 96: Luping Zeng 2013, the detail of Relationship of Barack and Julia, oil on canvas.

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4.2 Australian Approach for Art Practice

The Australian way of working is to use figurative compositions and painting subjects from animate life that use realism to explore the events of daily life in contemporary Australia. That the living source for my contemporary art is research of my own experience. These elements I consider are evident in my composition. Expressed as a hypothesis the painting uses the representation of traditional Chinese art, which is then transformed through my exposure to contemporary Australian visual dialogue.

Figure 97: Luping Zeng 2012, the detail of Primary version three‐NSW Hit by Heavy Storms.

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Using background landscapes from Chinese traditional famous paintings, I reproduced these aspects as black and white effects to create a context, but do so as a result of my exposure to traditional Chinese paintings. Every uninterrupted brush stroke portrays the becoming figures as the colour accumulates and emerges on the canvas (Figure 97). Oil of the superimposed images build up inevitably, but narratives with the oil medium make these figures within the idea resonate as if being created through layers of veils. The figure is taken, highlighting the appropriation from Yin‐Yang Wu‐Xing but also relating these stories to the contemporary global issues of unresolved human matters.

4.3 Current Approach for Art Practice

The way in which I work is to represent “journey‐experience” in my new artistic practice. I have contemplated for my research what it is to be an original thinker and a passionate communicator of ideas. There is a lot of contemporary art, numerous well‐prescribed proposals of enthusiasm, all appropriately debated and discussed to act as a preliminary undertaking to advance thinking and creating a visual dialogue with the audience, to create something innovative. It is just like the intermarriage of Asians with Western cultures, the children of the intermarriage are a completely new creation.

Figure 98: Luping Zeng 2012, the detail of version one‐Advanced Education, watercolour on paper.

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In fact, my personal philosophy looks to me as if my ideas are expressed in a new visual language to communicate with the audience. My starting point is to exploit a shared experience such as a flood or education to lead the viewer into new avenues of thinking, to challenge and to stimulate thinking (Figure 98).

My initial misgivings were the intended effects of my research project. What if my ideas are not completely established? What if my own personal philosophy is not in fact a thought but actually a series of developing questions? It was my enthusiasm for the research project that grew out of an unexpected personal practice. It was like a revolution with my research, or a timely connection with cultural origins for example. Another question that I found exciting was what if my research for the paintings was in reality some significant idea within a range of learned concerns? A persistent concern may develop into something so rich it ignited the production my individual research project so that stage by stage my paintings themselves developed into my own personal philosophy of “Non‐Philosophy” and commenced little by little to take on the traits of my personal visual art language.

4.4 Personal methodologies in studio background

My studio background influences my personal methodology. As an immigrant from China and a figurative painter, I have gained most of my knowledge of art and conceptual understanding from the perspective of Chinese culture. As an Australian resident and have learned more about Western culture, art concepts and customs whilst undertaking a studio research at COFA at UNSW. I am very interested in many aspects of life in Australia as everything here is still surprisingly fresh to me. “Non‐Philosophy” is my exploring of alternative forms of artistic expression, free from the traditional strictures of visual art. In my paintings I want to demonstrate liberation, because in the Chinese tradition, training is very regimented and systematic, whereas in the West, the emphasis seems to be on creativity.

My research focuses on assessing a range of contemporary Australian artistic cultures from the development of the essential characteristics of my individual approach, and I have linked these cultural structures to my evolving artistic universe.

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Figure 99: Luping Zeng 2012, the detail of Advanced Education, oil on canvas.

In my research I emphasise my immigration to Australia because it has had such a profound impact on my life. Just like Yin‐Yang is about opposites so my Eastern customs have been challenged by my Western insights and perspectives. These ongoing, conflicting ideas have resulted in my personal methodology, which has formed the foundation of my research. These sometimes‐painful experiences have nevertheless provided useful research for my work.

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CONCLUSION

In brief, this research project is autobiographical and presents an experience of a migrant in contemporary Australian society, a society so different from my homeland. For instance, in the East, abstract painting is largely ignored, while in the West such paintings are considered prestigious as creative ideas are pursued.

My research in Australia regarding immigration, a topic of much current debate, represents certain features of multiple contemporary significances, such as the cultural clash. Different cultural concepts have yet to be integrated into this multicultural society. My new understanding is that my research study has led to my acceptance in the Australian artistic community. Also I have a better understanding of how I can exploit Chinese art techniques to best explore Australian cultural and political events.

What is the significance of the immigrant’s progress? Formally, it is adventuring regularly with fundamentally challenging ideas. My research in my MFA program has allowed me to consider the migration experience as an indicator of my progress towards integration. Through a consideration of the experience of immigration and the absorption of influences I have incorporated from my past (Yin‐Yang, Wu‐Xing) and my present (Hockney). I aspire to substantially further develop these insights by observation and reflection. My narrative paintings present a form of abstraction that signifies the multiple insights and emotions of a migrant’s progress in Australia. On 18th April 2013, at the exhibition of 'Some Other Place'124, McNeill125 commented:

When Luping Zeng drops Julia Gillard into a traditional Chinese brush painting (Guo Hua), it does something quite different than we have come to expect from postmodern pastiche... Luping Zeng's work moves beyond the inward looking reflections of Euro‐American 'Pomo' and instead forces a confrontation between the opportunistic ad hoc protocols of Australian politics and the ancient Taoist beliefs in a landscape imbued with 'Chi' or life force. 'Guo Hua'

124 Some Other Place: brings together five artists, Alex Cyresko, Ryan Hickey, Mehr Javed, Adbullah M.I. Syed and Luping Zeng.

125 David McNeill, Centre for Contemporary Art and Politics, University of NSW. 127

demands a facility honed and passed down over many centuries. It is a technique that is predicated on a slow history, or longue duree, that is predicated on a vastly different worldview than the one that animates the constant requirement for spin, photo‐ops and damage control so characteristic of Australian politics (McNeill 2013, p. 3).

Figure 100: Luping Zeng 2013, the exhibition of 'Some Other Place', photography.

My aspiration for my research has led to a unique approach to a visual tale that uses the blending of cultures with humor and unconventional compositions and formation (Figure 100). I hope that these contexts provide a conduit for my narratives exploring from Wu‐Xing and Hockney’s “A Rake’s Progress” into the narrative of a migrant’s commentary on contemporary Australian events (Figure 101). My personal contribution is stylistic and compositional structures using an oil medium in my project. I hope these over endeavor provide a unique way of showing one person's artistic progress time to become assimilated into the ways of my new homeland to illustrate contemporary narrative as a visual dialogue.

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Figure 101: Luping Zeng 2013, the book of exhibition of 'Some Other Place', photography.

Similarly, both Yin‐Yang, Wu‐Xing and Hockney’s art philosophies reflect these academic pursuits. Employing the ideas of Australian culture and recent history Lawrence126 argues:

The work of Chinese‐Australian Luping Zeng, called A Migrant in Progress, is a glimpse at another ethnic diaspora... Zeng has used Chinese Confucian Yin‐Yang philosophy in his paintings. His Migrant's Progress series is based on appropriations of famous Chinese paintings, into which he has added images of Australian culture and recent history (Lawrence 2013, Sun).

The importance of critique of my project in terms of establishing a niche for my artwork. The confluences of cultural clashes have acted on me and have led me on a journey through my MFA research to this current study. As a practicing artist, I am broadening my perspectives and have made it my own life story. It is my perception of this approach that it will allow my narrative art

126 Callan Lawrence: a journalist, Fairfax Media of newspaper of Blacktown Sun.

129 in Australia to further my artistic development. However, when relevant research is conducted, narrative art with a contemporary background is generously within the current Australian artistic movement (Figure 102).

Figure 102: Luping Zeng 2013, the exhibition of 'Some Other Place', photography.

This was the experience found in the narrative art that includes David Hockney and his precursors. The topic of significant narrative and the art of humor in contemporary practice create interest in the truth of narrative visual art. The art of narrative in mainstream art can only be achieved through life experiences.

The next stage of my research will include a deeper analysis of Yin‐Yang, Wu‐ Xing and the contemporary artist David Hockney’s “A Rake’s Progress” and will cover a critical, historical span in visual art. I will remain conscious of cultural conversations, and artistic, ideological, historical and social contexts. The advantages of narrative are personal experiences and perspectives, which offer an interesting visual perspective for future generations. I want to question what initiatives have been achieved in relation to the presentation of multiple culture I perspectives.

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A number of issues were challenged while I was producing my individual project. I believed initially that my individual project should involve a search for a new philosophy through aesthetically refined and narrative paintings. These factors made that search seem finally effective. What I could then have come to believe was that my series of paintings will be satisfactory and that proposal and structure will be the truth conversation of art communicating futurity. My next step is I want to understand how my art form could be further developed to include the eight symbols Yin‐Yang, Ba‐Gua to add a new dimension to my art.

With this said, my individual project conducted in my MFA research has reinvigorated my artwork. My future series of paintings will explore different scenes and time progressions.

On the whole, the significance of my research with my MFA is that I have discovered ways, which allow me to depict both Yin‐Yang, Wu‐Xing within contemporary Australian news contexts while maintaining a lighthearted commentary. My research has promoted both my perception of philosophy and of multiple social cultures within my own personal philosophy of “Non‐ Philosophy”.

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REFERENCE LIST

Reference List of Illustrations:

Figure 1: Roberts, T. MAY 9 1901 (1903), R OPENING OF THE FIRST PARLIAMENT OF THE COMMONWEALTH OF AUSTRALIA BY H.R.H. THE DUKE OF CORNWALL AND YORK, (LATER H.M. KING GEORGE V), oil on canvas, 304.5 x 509.2 cm, On permanent loan to the Parliament of Australia from the British Royal Collection Courtesy of Parliament House Art Collection. Viewed 26 February 2013. http://www.artistsfootsteps.com/html/Roberts_bigpicture.htm

Figure 2: Roberts, T 1888, An Australian Native [Portrait of a lady], oil on canvas, 27.2 x 76.2 cm, National Gallery of Australia, Canberra, Viewed 26 February 2012 http://cs.nga.gov.au/Detail‐LRG.cfm? IRN=63760

Figure 3: Luping Zeng 2012, the detail of Beauty, oil on canvas.

Figure 4: Gu, K 344 ‐ 406 AD, Wise and Benevolent Women. Dong Jin Dynasty, Viewed 06 March 2012. http://en.wikipedia.org/wiki/File:Gu_Kaizhi._Wise_and_Benevolent_Women._Scroll._Song_copy_of _4_century_work._Palace_museum,_Beizing.jpg

Figure 5: Luping Zeng 2012, Advanced Education, oil on canvas, 124 x 92cm.

Figure 6: Luping Zeng 2012, the Detail of Advanced Education, oil on canvas

Figure 7: Luping Zeng 2013, MP Gillard Honours US War Deal, Oil on canvas, 123 x 91cm.

Figure 8: Gao. K 1248–1310, Evening Clouds, Yuan Dynasty, Viewed 16 March 2012. http://www.xabusiness.com/images/china‐resources/classic‐paintings/large/1‐8‐1.jpg

Figure 9: Lee, L 2009, Budhi and me, fire, inkjet print and Chinese ink on paper sheet 295 x 131 cm, Courtesy of the artist and Roselyn Oxley9 Gallery, Sydney, Viewed 10th Nov 2012. http://www.artmuseum.uq.edu.au/lindy‐lee‐spp09

Figure10: Guan, W 2007, A Mysterious Land No. 6 2007, Acrylic on canvas, 130 x 218 cm, Viewed 12th Nov 2012. http://artcritiqueaustralia.blogspot.com.au/2010/05/guan‐wei‐mysterious‐land‐no6‐2007.html

Figure 11: Luping Zeng 2013 NSW Hit by Heavy Storms, oil on canvas, 123 x 91cm

Figure 12: Zhang. Z 1085‐1145, Along the River During the Qingming Festival, Panoramic painting, 24.8 cm × 528.7 cm. Viewed 12 Jan 2012. http://upload.wikimedia.org/wikipedia/commons/thumb/d/d2/Bianjing_city_gate.JPG/300px‐ Bianjing_city_gate.JPG

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Figure 13: the Landing of the Normans in England Detail from the Bayeux Tapestry, 11th century. Viewed 27 Nov 2012

Figure 14: Mawangdui Hanmu bohua, Western Han painting on silk was found draped over the coffin in the grave of Lady Dai (c. 168 BC) at Mawangdui near Changsha in Hunan province. Viewed 16 Jan 2012.

Figure 15: Funeral scene, Detail from a vase found in Athenian tomb, Geometric style, 8th century BC, Metropolitan Museum of Art, New York. Viewed 29 Nov 2012.

< http://2gym‐patras.ach.sch.gr/ancient_burials_eng.htm>

Figure 16: Chinese hanging scroll on display in the Shanghai Museum. Viewed 16 Jan 2012.

Figure 17: Chinese Handscroll of Early Autumn (13th century) by Song loyalist painter Qian Xuan. Viewed 26 Jan 2012.

Figure18: Zhao Ji (1082‐1135) Emperor Huizong of Song, Two Finches. Viewed 26 Jan 2012.

Figure 19: Ba Da Shan‐ren (1626‐1705) Flower, Rock and Two Fish. Viewed 12 February 2012.

Figure 20: YIN‐YANG, painting by Jim Thompson. Viewed 15 February 2012.

Figure 21: Ai, W 2011, Fuck your mother, the Communist party central committee, 2011 photography. Viewed 18 February 2012. http://static5.businessinsider.com/image/4e034287cadcbbee340c0000‐ 590/the‐caption‐grass‐mud‐horse‐covering‐the‐middle‐to‐ais‐self‐portrait‐sounds‐almost‐the‐same‐ in‐chinese‐as‐‐fuck‐your‐mother‐the‐communist‐party‐central‐committee.jpg

Figure 22: Luping Zeng 2011, Primary version one‐Advanced Education, watercolour on paper, 44x30cm.

Figure 23: Luping Zeng 2012, Primary version three‐Advanced Education, oil on canvas, 145x125cm.

Figure 24: Luping Zeng 2012, Primary version two‐ Advanced Education, charcoal on paper, 44 x30cm.

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Figure 25: Luping Zeng 2012, Primary version two‐PM Gillard Honours US War Dead, charcoal on paper, 44x30cm.

Figure 26: Luping Zeng 2013, the detail of NSW Hit by Heavy Storms, oil on canvas.

Figure 27: Luping Zeng 2012, Explaining sketching one of form of Advanced Education, pen & ink on paper.

Figure 28: Luping Zeng 2012, Explaining Sketching One of Form of Advanced Education, pen & ink on paper.

Figure 29: Luping Zeng 2012, Explaining sketching two of form of Advanced education, pen & ink on paper.

Figure 30: Luping Zeng 2012, Explaining sketching three of form of Advanced education,n pe & ink on paper.

Figure 31: Luping Zeng 2012, Explaining sketching four of form of Advanced education, pen & ink on paper.

Figure 32: Luping Zeng 2012, Explaining sketching five of form of Advanced education, pen & ink on paper.

Figure 33: Luping Zeng 2012, the detail of primary version three‐Advanced Education, oil on canvas.

Figure 34: Luping Zeng 2012, Primary version three‐Advanced Education, oil on canvas 145 x 125 cm.

Figure 35: Luping. Z 2012, the detail of version one ‐ Advanced Education, watercolour on paper.

Figure 36: Luping. Z 2012, the detail of version three ‐ Advanced Education, oil on canvas.

Figure 37: Luping. Z 2012, the detail of version one ‐ Advanced Education, watercolour on paper.

Figure 38: Luping Zeng 2012, the detail of version one ‐ Advanced Education, watercolour on paper.

Figure 39: Luping Zeng 2013, Bushfire Zone, oil on canvas, 123x91cm.

Figure 40: Luping Zeng 2012, the detail of version three ‐ Bushfire Zone, oil on canvas.

Figure 41: Luping Zeng 2013, the detail of Bushfire Zone, oil on canvas.

Figure 42: Luping Zeng 2012, Explaining sketching one of form of Bushfire Zone, pen & ink on paper.

Figure 43: Luping Zeng 2012, Explaining sketching two of form of Bushfire Zone, pen & ink on paper.

Figure 44: Luping Zeng 2012, Explaining sketching three of form of Bushfire Zone, pen & ink on paper.

Figure 45: Luping Zeng 2012, Explaining sketching four of form of Bushfire Zone, pen & ink on paper.

Figure 46: Luping Zeng 2011, version one‐Bushfire Zone, watercolour on paper, 44 x 30 cm.

Figure 47: Luping Zeng 2013, the detail of Bushfire Zone, oil on canvas.

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Figure 48: Luping Zeng 2012, the detail of version three‐Bushfire Zone, oil on canvas.

Figure 49: Luping Zeng 2013, the detail of Bushfire Zone, oil on canvas.

Figure 50: Luping Zeng 2013, the detail of Bushfire Zone, oil on canvas.

Figure 51: Gao Kegong 1248–1310, Evening Clouds, Yuan Dynasty artist.

Figure 52: Luping Zeng 2012, Primary version two‐Bushfire Zone, charcoal on paper, 44 x 30 cm.

Figure 53: Luping Zeng 2012, Primary version two‐NSW Hit by Heavy Storms, charcoal on paper, 44 x 30 cm.

Figure 54: Hockney, D 1974, Artist and Model, half‐ground etching, dsoft‐groun etching, 57 x 44 cm.

Figure 55: Luping Zeng 2011, the Scene of Meeting with Dr Vaughan Rees, Pen ink on paper, 20 x 16 cm.

Figure 56: Luping Zeng 2011, the sketch of Advanced Education, pen ink on paper, size 20 x 16 cm.

Figure 57: Luping Zeng 2011, the Form of Advanced Education, pen ink on paper, size 20 x 16 cm.

Figure 58: Luping Zeng 2011, the Portrait of Dr Vaughan Rees, Pen ink on paper, 20 x 16 cm.

Figure 59: Luping Zeng 2011, the Portrait of Dr Vaughan Rees, Pen ink on paper, 20 x 16 cm.

Figure 60: Luping Zeng 2012, Explaining sketching of person of Advanced Education, pan & ink on paper.

Figure 61: Luping Zeng 2012, the Portrait of Dr Vaughan Rees, pastel on paper 30 x 44 cm.

Figure 62: Luping Zeng 2012, the Portrait of Dr Vaughan Rees , pastel on paper 30 x 44 cm.

Figure 63: Luping Zeng 2012, the detail of Primary version two‐ Advanced Education, charcoal on paper.

Figure 64: Luping Zeng 2012, Primary Version three‐PM Gillard Honours US War Dead, oil on canvas 145 x 125 cm.

Figure 65: Luping Zeng 2012, Explaining sketching one of form of PM Gillard Honours US War Dead.

Figure 66: Luping Zeng 2011, PM Gillard Honours US War Dead, watercolour 44x30cm.

Figure 67: Lupin Zeng 2012, Explaining sketching one of form of PM Gillard Honours US War Dead.

Figure 68: Luping Zeng 2012, Explaining sketching two of form of PM Gillard Honours US War Dead.

Figure 69: Luping Zeng 2012, Explaining sketching three of Form of PM Gillard Honours US War Dead.

Figure 70: Zhao Ji, ca. 11th century, Plum and Birds.

Figure 71: Luping Zeng 2013, Relationship of Barack and Julia, oil on canvas, 123 x 91cm.

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Figure 72: Luping Zeng 2012, the detail of version one‐Relationship of Barack and Julia.

Figure 73: Luping Zeng 2012, the detail of version one‐Relationship of Barack and Julia, watercolour on paper.

Figure 74: Yin yang from a golden spiral.

Figure 75: Luping Zeng 2012, Explaining sketching one of form of Obama with Gillard, pen and ink on paper.

Figure 76: Luping Zeng 2013, the detail of Relationship of Barack and Julia, oil on canvas.

Figure 77: Luping Zeng 2013, the detail of Relationship of Barack and Julia, oil on canvas.

Figure 78: Luping Zeng 2012, Explaining sketching two of form of Obama with Gillard, pen and ink on paper.

Figure 79: Luping Zeng 2012, Explaining sketching three of form of Obama with Gillard, pen and ink on paper.

Figure 80: Luping Zeng 2013, the detail of Relationship of Barack and Julia, oil on canvas.

Figure 81: Luping Zeng 2013, NSW Hit by Heavy Storms, oil on canvas, 123 x 91cm.

Figure 82: Luping Zeng 2012, Primary version three‐NSW Hit by Heavy Storms, oil on canvas 145 x 125 cm.

Figure 83: Wang, H 1632‐1717, the Peach Blossom Fishing Boat, ink and colors on paper, 28.5 x 43 cm.

Figure 84: Luping Zeng 2012, Explaining sketching one of form of NSW Hit by Heavy Storm.

Figure 85: Luping Zeng 2012, Explaining sketching two of form of NSW Hit by Heavy Storm.

Figure 86: Luping Zeng 2012, the detail of version three‐NSW Hit by Heavy Storms, oil on canvas.

Figure 87: Luping Zeng 2012, the detail of version three‐NSW Hit by Heavy Storms, oil on canvas.

Figure 88: Alsina, C. Golden Ratio in Geometry.

Figure 89: Luping Zeng 2012, Explaining sketching four of form of NSW Hit by Heavy Storm.

Figure 90: Luping Zeng 2012, Explaining sketching four of form of NSW Hit by Heavy Storm.

Figure 91: Luping Zeng 2011, version one‐NSW Hit by Heavy Storms, watercolour on paper, 44 x 30 cm.

Figure 92: Luping Zeng 2012, Beauty, oil on canvas 92x61cm.

Figure 93: Zhou Fang of Tang Dynasty (618‐907), the detail of Beauties Wearing Flowers.

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Figure 94: Luping Zeng 2012, the detail of Primary Version Three ‐ Relationship of Barack and Julia.

Figure 95: Luping Zeng 2012, Primary version two‐Relationship of Barack and Julia, charcoal on paper, 44x30cm.

Figure 96: Luping Zeng 2013, the detail of Relationship of Barack and Julia, oil on canvas.

Figure 97: Luping Zeng 2012, the detail of Primary version three ‐ NSW Hit by Heavy Storms.

Figure 98: Luping Zeng 2012, the detail of version one‐Advanced Education, watercolour on paper.

Figure 99: Luping Zeng 2012, the detail of Advanced Education, oil on canvas.

Figure 100: Luping Zeng 2013, the exhibition of 'Some Other Place', Photography.

Figure 101: Luping Zeng 2013, the book of exhibition of 'Some Other Place', Photography.

Figure 102: Luping Zeng 2013, the exhibition of 'Some Other Place', Photography.

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