NEW YORK.- The Asian Fusion Gallery presents International Modern Chinese Ink Painting, Group Exhibtion. Alienation and distortion of humanity in the modern consumerist society and the overwhelming pervasion of digital technology and electronic media led many people in the last century to worry about the future of Chinese ink and wash painting. Could the ancient art form celebrating nature and life, visual perception and philosophical thinking continue to exist in a completely different historical context? In a world saturated with material desires, multimedia stimulation and pleasure seeking, who would be interested in contemplating man and nature, and in pursuing spiritual liberation and freedom? Suddenly the future of ink and wash looked dim indeed, and many people believed that the art would wither away.

As we enter the new century, however, ink and wash has not died away, though it attracts much smaller audiences than the multitude of highly addictive multimedia that dominate the entertainment and consumer culture. Not only has ink and wash survived, but it has acquired a new life. The ink medium has found diverse applications beyond traditional restraints. In addition to ink and wash paintings on paper or silk, the medium is now used in new art forms such as performances, installations and films. The new ink and wash technique has also crossed many national borders to become a global way of artistic expression. More and more artists in the West as well as in the East are turning their attention to this traditionally Asian art.

World-famous Japanese photographer and artist Araki Nobuyoshi observes that “art that touches the spirit is the most important for people. Not only will ink painting survive, it will become the star of tomorrow.” He even predicts that “the new century will be a watershed, an era dominated by the spirit of ink and wash.” The spirit of ink and wash that Araki proclaims, refers to a broad mind-cleansing artistic spirit. It is not limited to ink painting, but it certainly is closely linked to the thinking of Chinese ink and wash. Commenting on Chinese painter Cai Guoqiang’s artistic style, Araki believes that it is essentially influenced by Chinese thinking of ink and wash. “Chinese spirituality is often expressed, unconsciously, through techniques such as black and white, and heavy and light,” he adds. “Physically and spiritually, Chinese are infused with ink and wash. It is an intricate quality that I envy.”