sign in sign up
<<
Home , Chinese art

Humanistic and Contemporary Chinese Art

Winston Kyan Associate Professor Department of Art and , University of Utah

inston Kyan is Associate Professor of Art and Art W History at the University of Utah. He received an MA and PhD in Art History from the University of Chicago and a BA in Comparative from Brown University. He teaches and published in three related yet distinct fields: historical of the , Buddhism-inspired contemporary Buddhist art, and Buddhist visual culture of the Asian diaspora. His articles have appeared in the Art Bulletin, Amerasia, and Art Journal Open, among many other venues. He is currently completing a manuscript on the relationship between filial piety and Buddhist art in medieval . 2019 7th Symposium on Humanistic Buddhism 299 2 1 — — Venerable Master Hsing Yun Master Hsing Venerable — (London: Phaidon, 2009), 123. Zhang Huan (London: Phaidon, 2009), As we enter into the third decade of the twenty-first century, “After returning to China, I had a deeper understanding to China, I had a “After returning of tradition and religion, which come from ordinary life. I discovered incense ash, door panels, ox hide… New inspirations constantly came to is me. the Tradition body is its spirit.” of a race, and religion “The founder of Buddhism, Sakyamuni Buddha, was Buddha, was Sakyamuni of Buddhism, “The founder not a god but simply a human being. The uniqueness of being, that it was founded by a human Buddhism lies in Humanistic Buddhism.” that is why it is called Indeed, cultural critics have discussed the phenomenon of of phenomenon the have discussed critics cultural Indeed, 3 Humanistic Buddhism: Holding True to the to the Humanistic Buddhism: Holding True Yun, Master Hsing Venerable Miao (Kaohsi- Venerable by Original Intents of the Buddha, translated ung: Fo Guang Cultural Enterprise, 2016), ii. et.al., Dziewior, Yilmaz Foundations of Modern and the Intellectual Louis Dupré, The Enlightenment University Press, 2005). Yale (New Haven: Culture

1 2 3 at least two observations can be made. On the one hand, the human On the one hand, the human made. at least two observations can be and intelligence artificial as extinction own its faces condition These human habits and habitats. climate change substitute basic never replace—natural arguably substitutions simulate—but can aspects of fundamental then, that human ones. It is not surprising, the human world by progress buried into the ashcan of history have The current renewal of human tribalism and risen from the dead. “progress” what of assumptions challenge systems authoritarian and “modernity” as definedWestern byEnlightenment is and can be. Introduction 人 ( Can we Can we 4 (Kaohsiung: Fo Guang Fo Guang (Kaohsiung: The ripples closer to the center resonate with closer to the center resonate with The ripples 6 These threats may be the impetus for the resurgence These threats may be the impetus for the resurgence 5 ) as Advocated by Venerable Master Hsing Yun of Fo Guang Shan,” of Fo Guang Shan,” Yun Hsing Master Venerable by Advocated ) as This essay is a preliminary examination of new religions and of new religions examination This essay is a preliminary Humanistic Buddhism and Contemporary Society and Contemporary Buddhism Humanistic Cultural Enterprise, 2019). The literature on is vast. For a a For vast. is art contemporary on literature The 2019). Enterprise, Cultural Barret, Why Terry is see concise introduction, that Art: and Criti- Art (Oxford: Oxford University Press, 2011). cism of Contemporary in in , or, The Cultural Logic of Late Capitalism Late of Logic Cultural The Postmodernism, or, Jameson, Frederic (Durham: Duke University Press, 1992). A. Maslin, The Simon L. Lewis and Mark Human Planet, How Created We University Press, 2018). Yale (New Haven: the Anthropocene On the definitions and problematics of defining and translating “Humanistic Taixu’s Buddhism: Chinese Modern a Toward Pittman, Don see Buddhism,” 2001), Stuart Chandler, Reforms (Honolulu: University of Hawai’i Press, on Buddhist Foguang The Earth: on Land Pure a Establishing Modernization and Globalization (Honolulu: University of Hawai’i Press, Fojiao in Renjian the ‘Humanistic’ 2004), and Miao Guang, “Interpreting 間佛教

Fo Guang Shan, a Taiwanese Buddhist order with global reach, reach, global with order Buddhist Taiwanese a Shan, Fo Guang 4 5 6 postmodernity as characterizing the late twentieth century. twentieth the late as characterizing postmodernity of religion and art within academic discourse as well as everyday well as discourse within academic religion and art of space of this essay, in our current time. Given the limited practice the full implications of religion and art in the twenty-first century indexed as expanding ripples are not explored here, but rather Humanistic The outside ripples touch upon for future research. twenty-first century religion, and Buddhism as an expression of of visuality within Art as the pre-eminent form Contemporary art world. today’s speak of neo-tradition and post-progress as veins running through running through as veins and post-progress neo-tradition speak of clearly feel the pulse of these We the early twenty-firstcentury? unsure of their paths or purpose. veins, but remain contemporary art as dominant veins in the pulse of the twenty-first and art are pillars Religion of the human condition, yet century. threatened by the and authenticity are particularly their autonomy of the realities and the accelerating capitalism forces of late market anthropocene.

Humanistic Buddhism and Contemporary Chinese Art 300 2019 7th Symposium on Humanistic Buddhism 301 - (2009), a work (2009), a work Also, consider the vast Buddha 7 And at the center, where the stone breaks the water to cause cause to stone breaks the water the where at the center, And in 20 Volumes Volumes Art in 20 consultant, Encyclopedia of Buddhist editor, Yun, Hsing Light Publications, 2016). Angeles: Buddha’s (Los

Museum located in the main temple campus in Kaohsiung, , Taiwan, in the main temple campus in Kaohsiung, Museum located temples satellite its into galleries art of incorporation the and around the world. Zhang Huan (b. 1965) is also as notable a Buddhism for most has not only practiced artist that contemporary to incor efforts deliberate made of his adult life, but one that has his monumental and spectacular porate Buddhist meanings into installations and performances. the first ripple,is the focus ofthis essay, by Zhang Huan expands that out to consider the relationship and contemporary Chinese art, as between Humanistic Buddhism of contemporary practices the within of Buddhism role as the well defines what process to continue we And while 2). life (Figs. 1, of unimaginable technological contemporary life during a time change and human pressure, three factors emerge as era defining: for visual spectacle, and a environmental disasters, the need be swallowed by an is about to growing awareness that spirituality All three factors are also fundamentally all-consuming capitalism. is also a art; it to Humanistic Buddhism and contemporary related in this essay. relationship that is explored here 7 and the work of Zhang Huan, an important contemporary Chinese Chinese contemporary an important Huan, of Zhang work and the religion between connection The scale. global on a working artist the Shan, Fo Guang of cases the in relevant particularly is art and Master Venerable Huan, the artist. For example, temple, and Zhang of Fo Guang Shan (founded, (b. 1927), the founder Yun Hsing art in Humanistic believes in the important role of 1967), strongly of the Encyclo- by its recent publication Buddhism, as evidenced Art in English. pedia of Buddhist , 2009, gray brick, steel, taxidermy taxidermy steel, of pig in Pagoda, 2009, gray brick, Huan, detail Fig. 2. Zhang Studio, Huan Zhang © (artwork cm) x 850 (670 inches x 335 264 pig, White) photograph © Joshua , 2009, gray brick, steel, taxidermy pig, 264 x 335 pig, 264 Fig. 1. Zhang Huan, Pagoda, 2009, gray brick, steel, taxidermy Angeles (artwork © Poe, Los and Blum view, installation (670 x 850 cm) inches White) Zhang Huan Studio, photograph © Joshua

Humanistic Buddhism and Contemporary Chinese Art 302 2019 7th Symposium on Humanistic Buddhism 303

- - a Buddhism-inspired sculp- Buddhism-inspired Pagoda, a The disaster was so devastating that that devastating so was disaster The 8 9 (Stanford: Stanford University Press, 2017). On May 12, 2008, a large earthquake shook Wenchuan Wenchuan shook earthquake large a 2008, 12, On May Master Venerable County of Province, China. Shan to establish instructed Fo Guang Yun Hsing centers at the disaster areas to ensure relief humanitarian for consolation spiritual to access have can victims that the loss of loved ones. This essay begins with one of the major environmental environmental major of the one with begins essay This The connection between environmental disaster and spiritual and spiritual between environmental disaster The connection The Politics of Compassion: The Sichuan Earthquake and Civic Bin Xu, The Politics of Compassion: The Sichuan Earthquake and Civic Engagement in China biographi Yun’s Master Hsing Venerable in the display the after Translation cal gallery, Buddha Museum, Fo Guang Shan, Kaohsiung, Taiwan. Shan, Kaohsiung, Buddha Museum, Fo Guang cal gallery,

many around the world wanted to help. This included Venerable Venerable This included world wantedmany around the help. to Shan to establish who instructed Fo Guang Yun, Master Hsing are prominently efforts These at the earthquake site. relief efforts commemorated by a display in the Buddha Museum at Fo Guang a display in the Buddha Museum by commemorated Shan, which states: 8 9 disasters of the early twenty-first the century, 7.9-magnitude earth on May 12, 2008. mountainous region of Sichuan quake that hit a almost 18,000 stands at over 87,000 dead and The human toll their lives in the 5,000 students losing estimated missing, with an schools. collapsed of ruins Pagoda (2009) consolation is also present in also is consolation in 2009 by Zhang Huan, among the most important ture completed artists working in the worldand well-known contemporary Chinese to powerful vehicles As such, Zhang Huan and his work are today. most interconnected the one of into ideas and art bring Buddhist which is the language today, and global forms of communication become has art contemporary is because This art. contemporary of

), or Pig Steel Strength. The The ), or Pig Steel Strength. 豬剛強 render it not only a work of contemporary work of contemporary a only not it render ), represented as a pig under a roof. Zhang Huan ), represented as a pig under a roof. 家 The close relationship between humans and animals have have animals and humans close relationship between The that resonates with with resonates that of Pagoda element a central Arguably, part of the language of the internet, of social media, of international internet, of social language of the part of the travel, and of the global art market. So, if a fundamental definition of Humanistic of Buddhist Buddhism is the integration belief, into the highs and lowsculture, and art of contemporary human The unusual of heroic survival. public embraced it as a symbol of a Buddhist of the humble pig within the sacred form placement forty-nine days of Gang Qiang’s pagoda now makes sense. In Zhu days of forty-nine the with Zhang Huan found resonance survival, to note Buddhism. It is important Chinese in traditional purgatory between the period but rather, not hell, is purgatory Buddhist that dwellers, hell include which rebirth; of paths six the and death Notably, gods. and demi-gods, humans, animals, ghosts, hungry poles of hell dwellers at the bottom and gods between the extreme of humans and animals. Chinese at the top are the middle strata can last from forty-nine days to three years Buddhist purgatory depending on the ritual. in principles Buddhist upon expound to used been frequently Buddhist narratives use this both texts and images. In particular, existence, then I would argue that the presence of similar concerns of similar the presence that then I would argue existence, Pagoda Huan’s Zhang in contemporary Buddhist “Humanistic of work a but art, Chinese Chinese art.” pokes its head Buddhism is the pig that principles of Humanistic the culture, Chinese In structure. brick the into carved hole a from for home/ part of human life, with the character pig is an essential or jia ( family, has stated that this stuffed pig references an actual farm animal pig references an actual farm animal has stated that this stuffed on rainwater and rotten wood that subsisted for forty-nine days environment the Within Earthquake. Sichuan the of rubble the in was and viral” “went quickly pig this media, social of Chinese nicknamed Zhu Gang Qiang (

Humanistic Buddhism and Contemporary Chinese Art 304 2019 7th Symposium on Humanistic Buddhism 305

In the case of case of the In 10 The above examples attest to the close connection between close connection between The above examples attest to the (2003), in which harnessed fighting fighting harnessed which in (2003), Other Each Touch Cannot That Dogs

The Physical Impossibility of of Impossibility Physical The or treadmills; on other each at lunge dogs Living Someone Mind of the in Death (1991) by Damien shark is suspended in formaldehyde within a see-through glass case. Hirst, in which a 10 For example, consider the controversial video by Sun Yuan and Peng Yu, Yu, and Peng Yuan video by Sun For example, consider the controversial 10 including animals. Huan Zhang but art, Buddhist traditional in humans and animals contemporary tradition into the themes of also incorporates this art, which has also used animals to reflect upon social phenomena twenty-first century. the art in of the nature and relationship to demonstrate the interconnectedness of sentient sentient of interconnectedness the to demonstrate relationship human a which in karma, of laws the illustrate to and beings previous life. For in a could have been an animal being in this life life, a white representations of the Buddha’s example, in visual conception of as a symbol of the miraculous elephant appears Sakyamuni’s Likewise, womb of his mother. Sakyamuni in the of Prince stands indirectly for the great departure horse, Kantaka, The art. Buddhist Indian early in palace his from Siddhartha of the images in prominent more even is of animals presence a stimulus or jātaka tales, that provide previous lives, Buddha’s and subsequent thereby improving karma for human compassion, An example of the former would be the jātaka of Prince rebirths. the flesh of his own body offers Mahasattva, when the prince of the latter An example cubs. to feed a starving tigress and her when the Buddha would be the jātaka of the Nine- Deer, hunter that the deer had saved A coat. was a deer with a beautiful to it killing by deer the betray eventually would drowning from present its coat to The the kindness ruler and as self-sacrifice a gift. is present in all beings, of the deer illustrates how Buddha-nature Zhang Huan, Zhu Gang Qiang’s will to live supports the artist’s will to live supports the artist’s Zhang Huan, Zhu Gang Qiang’s perpetually artist/dragon is an he, himself, that belief longstanding

Pagoda,” in Art With its references to the the references to its With 11 is clearly informed by the artist’s while Pagoda is clearly informed by the artist’s However, Journal Open, October 16, 2018. https://artjournal.collegeart.org/?p=10012. clearly possesses the potential to to Sichuan earthquake, Pagoda clearly possesses the potential China in allowed was exhibition its yet order,” public “disrupt references in Are the religious and political and the United States. Pagoda so personal to Huan’s Zhang the artist that they flew under political the and spiritual of the combination this Does radar? the be called Humanistic Buddhist constitute something that might what And perhaps just as importantly, Art? Chinese Contemporary is a pig doing in a pagoda anyway? 11 Winston Kyan, “The Buddhist Resistance of Zhang Huan’s Huan’s Zhang of Resistance Buddhist Kyan, “The Winston 11 striving against social and political currents in order to improve improve to order in currents political and social against striving belief of this The development people. of the Chinese the lives with thirty-year engagement Buddhist coincides with the artist’s folk the with began journey spiritual This concepts. and forms continued Anyang, then in childhood rural of a practices Buddhist York New in meditation of study eight-year formal his with with culminated finally and States, United the to moved he after in Buddhism Tibetan of follower lay a as ordination official his . In this returned to live and work in 2006 after he had journey the spiritual spiritual journey parallels Zhang Huan’s way, who are introduced to basic Buddhists today, of many Chinese environment of family life and Buddhist ideas in the informal who then, study, independent into advance who then practice, folk of Buddhist acknowledgement a formal into develop perhaps, identity through ordination. impermanence, and personal spiritual beliefs in compassion, interconnectedness, the work is nonetheless restrained by the is nonetheless restrained by the interconnectedness, the work the and religion both frame that narratives political public the constitution of China environment in China. For example, engage to of religion use make may one “no that: states explicitly order.” public disrupt in activities that

Humanistic Buddhism and Contemporary Chinese Art 306 2019 7th Symposium on Humanistic Buddhism 307 For Zhu Gang For Zhu Gang 12 To consider the last question first, the taxidermy pig plays plays pig taxidermy the first, question last the consider To This international dissemination of Buddhist ideas through of Buddhist ideas through This international dissemination (Chicago: University of Chicago Press, 1980). 12 Peter Brown, The Cult of the Saints: Its Rise and Function in Latin Christianity 12 with the historical meaning of relics as the body parts of holy of holy the body parts of relics as historical meaning with the ambiguous this is it and alive, and dead both are that beings remains of other humans typically fear in the status of relics that the leftover parts of animals. humans—not in Qiang to become a relic, then, the pig needed to become human, become human, needed to pig the relic, then, a Qiang to become into of Zhu Gang Qiang The making humanistic. or at least, more something more humanistic increased when considerably Zhang public a off set which pig, the adopt to desire his Huan expressed the debate on whether Zhu Gang farmer, Qiang belonged to the of idea the meaning to new state. Giving the or local community, allowed to sell the pig the farmer was ultimately art as commodity, the Shortly thereafter, the artist in exchange for a new house. to earthquake local from Gang Qiang Zhu transformed quickly artist survivor to global art world superstar. in Zhu Gang Qiang entitled show a with began art contemporary 2009 at one of London’s most high-profile galleries, White Cube. pig appeared in a projected live For several weeks, the Chinese his imagined British girlfriend video feed from Shanghai, while In gallery. London the of space actual the roamed Flower Oxford of Zhu Gang numerous ash gallery, of the section another ash paintings are among the Qiang were displayed. Zhang Huan’s since they are religious sincerity, most powerful expressions of his of incensemade through the meticulous application ash gathered ash collected The Shanghai. in temples Buddhist local from daily applied meticulously and then gradations, tonal is then sorted into of traditional Chinese to canvas to give the appearance a live Chinese prevented regulations Since British health on paper. Zhang Huan pig from roaming the public space of an art gallery,

13 (London: White Cube / Cube White Zhu Gang Qiang (London: He looks a little like you. in 2011 at Blum and Poe, . Thus, we Angeles. at Blum and Poe, Los 49 Days in 2011 Oxford mind? Do you . have a already Flower: I I know any better. high school. I didn’t When I was in the captain of the football He was guy. fell for this hot to play having his kid. Later he went team. I ended up He left me and a huge star. for Madrid Real and now he’s have a sense of You a real man. You’re his kid behind. family. Gang plant those Qiang: Of course, I mind! I didn’t kid. I’ll take a look… seeds!! Send me a photo of your the child does look really obedient. Well, Oxford Flower: he think might they Gang know, didn’t people If Qiang: was my own child. Not bad. Sadly, Zhu Gang Qiang died shortly after the close of the Qiang died shortly after the close of the Zhu Gang Sadly, Zhang Huan Studio, 2009), 27-28. 13 Zhang Huan and Susannah Hyman, Zhang Huan and 13 used this travel ban to construct an internet romance between between romance internet an construct ban to travel this used which pig in London, and the female pig in Shanghai the male the to catalog accompanying the in dialog text a as recorded was two the between exchange humanizing particularly A exhibition. who was named pig, female the that revelation the to relates lovers from a previous union: had a child Oxford Flower, White Cube exhibit, but his spirit lived on in the artist’s next next artist’s the on in lived spirit his but exhibit, Cube White exhibition major a in display its and , of Pagoda heart as the project entitled along traveling as Buddhism of transmission contemporary the see routes of the two of the most active art market, and the the internet Through Zhu Gang Qiang, Silk Road of the twenty-first century. Buddhist art traveled from Sichuan, London, to Los to Shanghai, to and Poe, Pagoda at Blum exhibition in the 2011 Angeles. Notably,

Humanistic Buddhism and Contemporary Chinese Art 308 2019 7th Symposium on Humanistic Buddhism 309

) and the ) and the Bodhisattva 十王 ), that presided over the courts of ), that presided over the courts of 地藏 (Los Angeles: Blum and Poe, 2012). Angeles: Blum and Zhang Huan: 49 Days (Los The first seven kings would meet the deceased every 14 in this exhibition arguably stands as the result of rebirth, stands as the result of rebirth, in this exhibition arguably Belief in the Ten Kings and Dizang also included belief that also included belief that Kings and Dizang Ten Belief in the purgatory. Ksitigarbha, or Dizang ( 14 Winston Kyan, Winston 14 was gray made from similar of alongside a set exhibited corresponded that skulls and pigs eleven comprised These bricks. in medieval China, iconography of purgatory with the expanded I have argued from the third to tenth centuries. which roughly dates that 49 Days elsewhere reflects a ChineseBuddhist view of death skulls and pigs of sculptures brick eleven the which in rebirth, and ( Kings Ten the would accord with seven days for a total of forty-nine days, then the eighth king wouldtotal of forty-nine days, then the seven days for a the ninth king would meet on the hundredth day, the deceased meet the deceased on the first-year anniversary after death, and the tenth after anniversary third-year on the deceased the meet would king not were Kings Ten the of decisions accumulated the case In death. Ksitigarbha would appear to the rebirth of the deceased, favorable of presence The resort. of last savior a as king” “eleventh the as Pagoda a state that blurs the status of animals and humans as well as the Just as importantly, lines between memory and impermanence. Zhang Huan into a long-standing this exhibit situates the work of centers on the importance of debate in Chinese Buddhism, which Buddhism into a distinctively ancestor worship in making Indian lasted in purgatory beliefs Indian is, while That religion. Chinese only one the year, Chinese extension to three years allowed a filial child to fulfill his traditional Chinese duties of performing funerary years. rituals for deceased parents for three Conclusion the judgements by the Kings Ten could be influenced by Buddhist As donations made by children on behalf of their deceased parents. - ). But the importance importance the ). But 人間佛教 ) in Humanistic Buddhism ( Buddhism Humanistic ) in 人間 noted above, this integration of Buddhist beliefs with filial piety filial piety beliefs with of Buddhist this integration noted above, a also is It Buddhism. Chinese of characteristic distinctive a is Vener by as envisioned Buddhism of Humanistic aspect distinctive able Master Hsing Yun. Notably, the exhibit in the Fo Guang Shan the exhibit Notably, Yun. Master Hsing able life Yun’s Hsing Master Venerable to devoted Museum Buddha begins with the Master’s Venerable mother and his filial devotion the viewer into the biographical gallery, Upon entering to her. Master Hsing Venerable of portrait a half-length sees immediately with manner realistic a in executed is painting The mother. Yun’s a oil technique. The figure is dressed simply in a her arms come hair is brushed back neatly; gray tunic; her white that face the is it But rosary. a hold to waist her at down together represented are images If Buddha attention. viewer’s the captures portrait this meditation, deep of state a in downcast eyes their with the viewer with an expression of a human bodhisattva looks upon and portrait the of nature The compassion. and love of radiating that implies gallery to the biographical at the entrance its presence Master for filialVenerable Hsing Yun, piety puts the “humanistic” ( Yun’s Master Hsing Venerable of of images, such as the portrait mother (in its own way a work of contemporary art), also testifies and Buddhist compassion communicate to power of images the to Buddhist interconnectedness.

Humanistic Buddhism and Contemporary Chinese Art 310 2019 7th Symposium on Humanistic Buddhism 311 Humble Table, Wise Fare —Humble Table, Those who endure are powerful, are Those who endure benevolent. brave, wise, and