Professor Cohen
Asian Art Survey
10 November 2014
The Many Faces of Yue Minjun
“I found a comical way to express something tragic…” (Mollard-Chenebenoit par. 3)
An iconic face is dominating Chinese contemporary art, bearing an exaggerated grin and bursting with laughter. Yue Minjun, the man behind the smile, is making quite a name for himself. Featured in exhibitions across China, Europe, and North America, Minjun has grown from starving artist to international sensation. His success stems from a globally recognized motif he began in the 1990’s, a whimsical self-portrait cackling through the absurdities of life.
The child of two oil workers in northeastern China, Minjun grew up during the Cultural Revolution. Born in 1962, …show more content…
His work deals with the indispensable suffering of human existence and the disorientation we experience living in society. Li Xiantang categorizes Yue Minjun with the Cynical Realism movement. Many Contemporary Chinese Artists fall into this category, having grown up during the Cultural Revolution and experienced firsthand Maoist ideology. Cynical Realism lacks an overarching aesthetic, however the art shares a humorous and satirical tone. The movement is centered in Beijing and was first coined by Li Xianting in 1992 (Tsui par. 6). Contemporary Chinese artists who identify with Cynical Realism believe it’s their responsibility to inform the masses of past transgressions and fight for social reform (Lu par. 9). Their work often comments on communist injustice or incorporates historical references. When the massacre at Tiananmen square shook the country in 1989, Cynical Realism came into full swing. On June 3rd and 4th, following several weeks of public protests in Beijing, Chinese troops opened fire on a demonstration in the town square, arresting 10,000 democratic activists and killing thousands in the process (“Tiananmen Square Fast Facts” 1). The massacre left a lasting impression on Chinese youth and Contemporary Artists …show more content…
The art of painting in China began around 4000 BC (“Chinese Brush Painting” par. 1). Due to the nation’s deep roots in calligraphy, artists relied primarily on the use of line. Children spent most of their education copying fundamental forms of the Chinese alphabet from calligraphy books. The process became a respected art form in the 4th century after Wang Xizhi (known as the Sage of Calligraphy) brought new life to the meticulous practice. Wang was able to master all of its forms. Due to the overwhelming influence of calligraphy, line discipline dominated Chinese painting, and brush strokes gave insight to the artist’s personal style and rhythm (Hearn par. 3-4). The fine tip of a Chinese brush enabled a wide range of techniques. Cunfa refers to brush methods for shading and texture, while Dianfa indicates a range of dotting methods. Painter’s aimed to achieve a subject’s outward characteristics as well as inner essence, all with the stroke of a brush (“Chinese Brush Painting” par. 10). Breaking from this tradition, Yue Minjun does not solely depend on the use of line. He engages light and color in order to form three-dimensional shapes. Most contemporary artists neglect the ancient practice, placing less emphasis on definitive