With their more than 2,000 years of tradition, Chinese ink painting and calligraphy are among the oldest art forms in the world. Brush and ink form the basis of Chinese art, which, traditionally, does not aim primarily towards the faithful imitation of visible nature but rather towards capturing the spiritual authenticity of the world. With the dawn of the twentieth century, ink-based art has been increasingly challenged by the rise of new techniques, theories, and media of Western origin. To this day, within Chinese painting, one distinguishes between Guohua (traditional Chinese painting) and Xinhua (new Western painting). During the past century, numerous artists have taken on the task of combining these two world views. This has, however, not led to the envisaged renewal of Chinese ink painting.

Today, in a complex world characterised by digitalisation and globalisation, artists’ investigations into tradition and its significance for their own lives is a crucial component of the exploration of their own individual identities. For approximately fifteen years, an increased awareness of their own artistic tradition can be observed. This development is explored in the exhibition in the Alte Villa of the Kunstmuseum Gelsenkirchen, which is presenting twelve positions, thus providing insight into the current investigation into the tradition of Chinese ink painting and calligraphy.