appropriating art

arvin (cheng-liang) tsai

000700-0102
The intro:
Following the stylistic features present in my scope of work in the exhibition, which is
influenced by Chinese culture as a Taiwanese myself and what iconic works of art it brings to
the table such as Ink landscape paintings on scrolls and the cultural revolution. The
investigation on one artist, Zhang Hongtu has redefined contemporary art intertwining East and
Western art. In one of his series, he appropriated selected classic 19th century masters stylistic
approaches (brush strokes and movement) such as Van Gogh and Monet and adapted it into
Chinese landscape paintings. This is what intrigued me in the way artist adopts other artists
works and apply it into their own. This led me to question whether or not it is appropriation or
inspiration. As appropriation is normal, people everyday take images and manipulate for their
own good. One obvious appropriated piece that will be investigated in this comparative study is
Zhangs Shitao Van Gogh no.4 appropriated from Shitao, Landscape from An Album for Daoist
Yu. And the stylistic features in The Starry Night and the cultural contextualization of scrolls.
 Criteria A

The Starry Night

Vincent Van Gogh
1889. Oil on canvas, 73.7x92.1cm
Van Gogh painted the view just before sunrise after
mutilating his own ear in a psychotic episode from a
asylum. Because he could only see so much, the
Interpretation and cultural significance

Cyprus and landscape was invented .

With Starry Night Van Gogh moves away from the
traditional Impressionist connection with nature
and instead adopts a feeling of agitation.
The circular brushstrokes create a night sky filled
with swirling clouds and edits of stars. Van Gogh, a
impressionist captured light differently by his
predecessors. The strokes captures its motions,
starlight that twinkle and milky waves of blue night
sky which creates radiance.
Handling of the paint strengthens the contrast
between the paintings two halves, outlined in black
like stained glass windows.
The earth has a carved solidity , while the sky surges
and the star spreads outward in concentric waves,
pulsing moment is a conscious effect.
Opposition of the earth tangible solidity and the
skys wave like motion.
https://www.youtube.com/watch?v=PMerSm2ToFY
&list=LL7HoO27DuPXwca7_Mf5p6Jw&index=8
 Shitao Van Gogh no. 4
Zhang Hongtu
2001, Oil on canvas, 129.5x177.8cm
Being Chinese, Zhang has been schooled in both
classical Chinese and western landscapes and made
Chinese landscape painting Western art history by
Interpretation and cultural significance

repainting the compositions of famous

masterpieces of Chinese painting in the style of
Western 19th century masters such as Monet and
Van Gogh exploring stylistic unions between East
and West. , In his copying of revered masters, he is
following a venerable Asian traditional as well as
commenting on appropriative strategies.
When viewers who do not know Chinese landscape
painting fail to recognize the Shitao composition,
they render it invisible, omitting the status and
influence of a masterpiece of Chinese landscape
painting. Viewers thus blithely assimilate one of the
single most iconic compositions of Chinese
landscape painting into Western art history.
Chinese Landscape Painting as Western Art History
by James Elkins
His prominent medium is oil on canvas which is the
exemplary medium used in Western paintings
instead of Chinese ink presenting the subject
matter of iconic Chinese landscapes in the style of
Van Gogh matching the subtle insights in an
appealing way.
Criteria B & C
 Shaded Dwellings among Streams and
Mountains
Dong Qichang
Ming Dynasty, Hanging scroll; ink on paper,
251.5x84.1cm
Shaded Dwellings among Streams and Mountains,
based on a work by the early master Dong Yuan
(act. 930s60s), is a complex calligraphic study of
Interpretation and cultural significance

rock and tree forms conceived as an integration of

abstract, cubic, and dynamically expressive masses
that embody and are unified by the kinetic energy
of the artist's physical movements.
In an attempt to restore simplicity and vitality to
painting, Dong advocated a spiritual
correspondence with the art of the old masters
rather than a literal imitation of them and
underscored the importance of self-expression.
Approaching painting as though it were calligraphy,
Dong alternated positive and negative patterns in
his landscapes, which resulted in a radical new
kinesthetic style.
Dong Qichang almost always painted "pure
landscapes" or landscapes without figures, without
narrative interest, without some element of human
interest. His paintings avoided naturalism because,
he said, a painting cannot begin to equal the beauty
of the real world. But on the other hand, the natural
world could not equal what an artist could do with
brush and ink.
https://www.metmuseum.org/toah/works-of-
art/1979.75.2/ Criteria B & C
 contextualizing scrolls

its function and its purpose
According to the met museum, looking at a hand scroll is an intimate experience and a
revelation in its relationship of function and purpose, traditional pieces is for personal
enjoyment. Commemorating an event, documenting history through pictorial scripts, a
viewer sees not only a pictorial representation but witnesses the history of the painting as
it is passed down from generation to generation. The value of a scroll is reflected in part by
its packaging.
http://www.metmuseum.org/toah/hd/chhs/hd_chhs.htm
According to another article from the met museum is that images of nature have remained
a potent source of inspiration for artists down to the present day. While the Chinese
landscape has been transformed by millennia of human occupation, Chinese artistic
expression has also been deeply imprinted with images of the natural world. Viewing
Chinese landscape paintings, it is clear that Chinese depictions of nature are seldom mere
representations of the external world. Rather, they are expressions of the mind and heart of
the individual artistscultivated landscapes that embody the culture and cultivation of
their masters.
http://www.metmuseum.org/toah/hd/clpg/hd_clpg.htm

Criteria C
 Formal qualities
Zhang explored the dialogue between contemporary Like Van Goghs The Starry
In comparison, Van Goghs painting involves a Night, the brush work is
thought and artist practice. He takes a famous Although a circular moment, spiraling but with Zhangs dramatized and it adds even
composition, Landscape from An Album for Daoist Yu by background interpretation the brush work carries the eye from more depth as well as a rich
is not left to right as the strokes like its animated, very
one of the most famous Chinese landscape painters, present in texture to this work of art.
fluid similar to Chinese ink brush strokes.
Shitao, and repaints it in the style of Van Goghs The the original
There is nothing that the viewer would miss as
Starry Night of 1889. Traditional Chinese gardens were composition the fluidity of the painting allows the eye to move
meant to evoke a feeling of being in the larger natural , Zhang Shitao Van Gogh no. 4 throughout the whole piece from the hills
created a
world, so that the occupant could capture the sky in the Zhang Hongtu directing to the house on the edge moving to the
sensations of wandering through the landscape.. In style of
2001, Oil on canvas, 129.5x177.8cm flow of the clouds and water
other words, the garden presented the larger world of Chinese
nature in microcosm. One of the most important paintings
but strokes
considerations in garden design is the harmonious
like Van
arrangement of elements expressing different aspects Gogh
of yin and yang.
https://www.metmuseum.org/toah/hd/cgrk/hd_cgrk.ht
m The lines are darkened to give
emphasis, similar to the Cyprus
tree in The Starry Night and the
Shitao, Landscape from An Album tone of colors Zhang selected
for Daoist Yu. although slightly lighter is from
Album leaf, ink and color on paper. similar color scheme from the
original painting

Here, Zhang also added script

calligraphy to mimic traditional
scroll paintings, which is not
present in the Shitao
Composition
Stylistically, what Zhang has
appropriated (right from Shitao)
the lines are parallel to what
was illustrated on the
composition.

Criteria A
 Appropriation vs. inspiration a debate is to be made as to whether or not recreations should be labeled carefully appropriated or inspired
. Chinese painting involve parallels between Chinese and Western art. fascination with Western modernists like Henri Matisse. I liked the
strong colors and strong brush strokes, Zhang said. Similarities include the movement and rhythm present in the both works of art that
guides the eye throughout the whole piece allowing viewers to visualize the full effect of the paintings. The dissimilarities include the
different landscapes: the formal qualities present in The Starry Night comprise of a village, Cyprus tree, the stars and the bright illuminating
moon all encompassed within the movement and the shades of blue that exudes a calm atmosphere. While Shitao Van Gogh no. 4
appropriated from Shitao, Landscape from An Album for Daoist Yu contains the compositions of garden rocks were viewed as mountain
ranges and towering peaks; miniature trees and bushes suggested ancient trees and forests; and small ponds or springs represented mighty
rivers and oceans
Formal qualities and making comparisons

The Starry Night Shitao Van Gogh no. 4

Vincent Van Gogh Zhang Hongtu
1889. Oil on canvas, 73.7x92.1cm 2001, Oil on canvas, 129.5x177.8cm

Criteria A, B & D
 Aside from the striking differences in the composition and coloration between Shaded Dwellings among Streams and Mountains and Shitao Van Gogh
no.4 the similarities lies in the garden rocks that were viewed as mountain ranges and towering peaks; miniature trees and bushes suggested ancient trees
and forests; and small ponds or springs represented mighty rivers and oceans that is present in both pieces which is indicative of classical Chinese
landscapes with pictorial scripts and insignia of the artist. Though elements are the same, they are portrayed differently, in the sense that Zhang has
supplemented the Shitao composition with movement and depth, allowing it to animate motionlessly in color. In contrast to Shitao Van Gogh no.4, the
Shaded Dwellings is simplistic in terms of tone and value in its details of its towering peaks and trees through the use of ink. No subject is seen in the
composition, results in a still and peaceful atmosphere. The size should also be a indication of its effect on the audience. As in context, the hanging scroll is
supposed to be viewed when desire tucked away in a box but not hung on a wall versus Zhangs Westernized format. Another striking difference is the lines
present in both compositions. The way the mountains are drawn, lines are used in Shitao Van Gogh no.4 to illustrate the energy and movement of the
painting whilst Shaded Dwellings is reliant on its values to make its mountains prominent. Both works present a triangular composition which leads the eye
Formal qualities and making comparisons

throughout the piece allowing a balanced and full effect on the audience. The composition of Shaded Dwellings is different in that it is segmented visually
from foreground, middle ground and background slowly fading into the sky but equally important.
Shaded Dwellings among Streams and Mountains Shitao Van Gogh no. 4
Dong Qichang Zhang Hongtu
Ming Dynasty, Hanging scroll; ink on paper, 251.5x84.1cm 2001, Oil on canvas, 129.5x177.8cm

Criteria A & D
Formal qualities and interpretation
Van Gogh was fascinated with evening time and the night to him was immortalized as it brought him a feeling of security and comfort, as the night is when
you are uninterrupted. However, being Van Gogh, as an outsider the night also felt lonely . Van Gogh was a huge follower of Jean-Francois Millets work
and the artist painted several landscape paintings. The arrangement and lighting depicted in Millets own Starry Night is reminiscent of Van Gogh's version
and its possible that Van Gogh saw Millets painting in Paris between 1873-75. His love of Millets work was well-known and while in the asylum at Saint-
Rmy, van Gogh produced 21 copies of Millet's works which shows not only his respect for the artist but also his own commitment to developing his
individual technique.
The tone of this painting can be A cypress tree sits at the foreground of the landscape. Flame-like it reaches the top
interpreted as glimmer of hope, as edge of the canvas, serving the link between land and sky. Considered symbolically, the
The Starry Night within the darkest night, there is cypress could be interpreted as a bridge between life, as represented by the earth, and
still light death, as represented by the sky, commonly associated with heaven. Cypresses were
Vincent Van Gogh
also regarded as trees of the graveyard and mourning.
1889. Oil on canvas, 73.7x92.1cm http://www.moma.org/learn/moma_learning/vincent-van-gogh-the-starry-night-1889

The mixture of invention, remembrance, and

Starry Night
Jean-Francoie Millet
ca. 1850-65. Oil on canvas, 65.4x81.3cm
observation combined with Van Goghs use of simplified
forms, thick impasto, and boldly contrasting colors that
has made the work so compelling to subsequent
generations of viewers as well as to other artists Zhang
being one of them.
https://www.khanacademy.org/humanities/becoming-
modern/avant-garde-france/post-impressionism/a/van-
gogh-the-starry-night

Criteria A & B
 A significant difference
Comparison The Starry Night
Shaded Dwellings among between Eastern and
Vincent Van Gogh
1889. Oil on canvas, 73.7x92.1cm Streams and Mountains Western painting lies
Dong Qichang in the format. Unlike
a Venn diagram Darker tone on the Composition
Ming Dynasty, Hanging scroll; ink on
paper, 251.5x84.1cm
Western paintings,
formal qualities bottom to give feels like its Chinese which are hung on
weight rising to the scroll format walls and continuously
Criteria A, C & D Depiction of the
Spiral wind like
top reaching Use of Chinese ink visible to the eye, most
night time, the
Influenced ultimate as medium Chinese paintings are
illumination of light motion Vertical painting
many other serenity
Use of the circular not meant to be on
artists Historic artists Tonal shades with
motion and the constant view but are
value to create
Cyprus tree to Landscape painting brought out to be seen
Peaceful tone Composition contrast and blend
connect the only from time to time.
and moon almost fills the piece into one.
painting Layers, giving This occasional viewing
from top to Created not because
depth and has everything to do
Influenced Stationary bottom of Influenced by its art, but because
movement
painting Chinese artists its a documentation with format.
by Japanese animation Natural
Impasto Use of oil environment Daytim and demonstration http://www.metmuseu
techniques
technique on canvas is dominant e
Triangular forms of technique m.org/toah/hd/chhs/h
brushstrokes Absence of d_chhs.htm
to guide eye
(impressionistic) figures Follows classical
Westernized Pictorial Chinese landscape Refer to Ernst Gombrichs
format of hanging script paintings The Story of Art
He uses Japanese print art on the wall conventions
techniques to unmask the falsity
of modern life. Exploiting the Appropriated, then the garden rocks that were
Wave like motion, manipulated viewed as mountain ranges
emotional power of black Darker tones
horizontally and towering peaks;
outline. Highly juxtaposed Use of lines to spreads
complementary colors. Sharply Contemporary segregate the miniature trees and bushes
throughout,
contrasted plains; this is a artist; East and different suggested ancient trees and
balanced color and
forests; and small ponds or
intertwine of the link between West compositions of composition
springs represented mighty
East and Western art. the painting
rivers and oceans
https://www.youtube.com/watc
h?v=wOfC8LGMY08&index=6&lis Shitao Van Gogh no. 4
Zhang Hongtu
t=LL7HoO27DuPXwca7_Mf5p6Jw 2001, Oil on canvas, 129.5x177.8cm

Applying cultural
appropriation in
(real life) context
Criteria B
Chairmen Mao
Zhang Hongtu
1988, Mixed media
He created satirical Mao portraits in
styles of Western masters like
Picasso and Marcel Duchamp. He
painted a Leonardo da Vinci-inspired
Last Supper where every figure
was Mao.
Though Mao is gone, Mr. Zhang sees
no reason to stop using his picture.
The Chinese reality has never really
changed, said the artist, who has
never shown his Mao works in China.
People still worship Mao.
http://www.wsj.com/articles/the-
influential-chinese-contemporary-
artist-youve-never-heard-of-
1445019047
Seen on the right is a comparison between an original Coca Cola
merchandise and a state of California t-shirt appropriated from the
style of the ever so iconic Coca Cola logo. Although, obvious to people
it is appropriated from Coca Cola, a brand. The imagery used is merely
reduced to its font because the creators changed Coca Cola into
California which is different to its original which begs the question as
stated in my intro: is it inspiration or clear appropriation. In cultural
context, it can be seen as a commodity that is in trend, thus cool.
http://images.coca-
colastore.com/imagesEdp/p19691
4b.jpg
Marcel Duchamp radically subverted
conventional practices of artmaking
and display, challenging such
weighty notions as the hand of the
artist and the sanctity of the art
object
https://www.artsy.net/artwork/mar https://img1.etsystatic.com/059/1/1063570
cel-duchamp-lhooq-mona-lisa 6/il_570xN.737648285_c7fn.jpg
COCA COLA VASE
Ai Wei Wei
Reproduction of Leonardo da Vincis Mona Lisa2011,
w/ added
acrylic on Han dynasty vase,
mustache, goatee and title: L.H.O.O.Q.
Marcel Duchamp 30x30x27cm
And above, is a social commentary on the
1919, Mixed media, 19.7x12.4cm
loss of culture by artist, Ai Wei Wei with the
This cheap reproduction of the famous ideal of beauty that is da logo Coca Cola painting onto a Han dynasty
Vincis Mona Lisa has been adorned with a comical moustache and
vase. This is considered as a strong
goatee. According to The Guardian, statement which illustrates how
Duchamp uncovers an ambiguity of gender at the heart of
contemporary culture is neglecting the past
Leonardo's aesthetic - that Leonardo sees the male form in the which molded our present in the first place.
female. The vandalism and vulgar title of Duchamps interpretation But we forget that the logo is of an existing
may be seen as creative following various art movements company. Is it appropriation? Is it a
however, it may also be seen as appropration. With all this necessary means to use this as
electic approaches to art making, it seems that this may be the commentary?
absense of mimesis, but its still art.
Applying cultural Another portion of appropriation I will attempt to utilize is the hanging
scroll. The scroll is personal connection again to my cultural roots. However,
appropriation to I will attempt a expressive interpretation (abstract) to modernize it. I chose
to use Shepard Fairey and not Van Gogh specially because it would be
my work. another derivative of Shitao Van Gogh no. 4, therefore, to put youth spin
Criteria F on it.
Shitao, Landscape painted on the Double ninth festival -
http://www.comuseum.com/wp-
content/uploads/2015/05/shitao_landscape-painted-on-the-double-ninth-
festival.jpg Mao and I
Arvin Tsai
This led me to look into the original rendition of the posters from archived 2015. Acrylic and ink on canvas, 45x180cm
from the Cultural Revolution and what I can do to appropriate it into what I
have learnt in this process. Because Zhang cannot display this in China, this
brings up the cultural consideration and its limits to appropriating art.
Although stylistically, Van Gogh is not present, I was inspired by
appropriating and using cross-cultural and historical/ contemporary
influences. I plan to create a scroll painting with Maos face plastered
stylistically similar to Shepard Faireys Obey series of Hope for Obamas
presidential campaign. Taking from what I learnt and apply it to
contemporary context of propaganda posters. Home, is also a concept I
wanted to explore in this piece as a third culture kid as I miss Taiwan; to tie it
to history and pictorial script, I took Chinese poet, Li Bais Thoughts in the
Silent Night as a reference to scroll painting conventions.

Thoughts in the Silent Night By Li Bai Translated

by Yang Xianyi & Dai Naidie

Beside my bed a pool of light Is it hoarfrost on
the
ground? I lift my eyes and see the moon, I
bend my head and think of home.

Self produced art Images taken by Arvin Tsai

 The landscape painting in the
From what I have learnt from
background, is an abstract
researching about
interpretation of the garden rocks
appropriation in real life that were viewed as mountain
context, I came to a conclusion ranges and towering peaks;
that taking the idea of miniature trees and bushes
appropriation but my own suggested ancient trees and
responses will incorporate forests; and small ponds or springs
different aspects of time represented mighty rivers and
periods in culture (my roots oceans that is present in both
versus contemporary culture). pieces which is indicative of
Taking a the stylistic features of classical Chinese landscapes with
a well known political figure, pictorial scripts and insignia of the
Obama in popular culture is artist
what references today. To
connect it to my roots, I
investigated a achieved
The repetition of Maos face is suppose to
propaganda poster from the indicate the plastering of new culture over
Cultural Revolution of Mao the traditional. Although painted by acrylic,
Zedong as Chinese history the effect is suppose to appear like a digital
cannot be discussed without print, a derivative of Shepard Faireys style.
mentioning Mao. In appropriating Maos portrait in the styles
of different 19th century Western masters,
Zhang represents this as the resonation of
Mao Zedong in China; although he is gone,
he is still apotheosized. The repetition is a
equivalent of propaganda posters plastered
all over the place.
Shepard Faireys
Hope presidential
campaign for Barack
Obama, 2008
The pictorial script is a poem
from Chinese poet, Li Bai of
the well known Thoughts in
the Silent Night. Here he talks
about thinking of home during
the night. Which I used in this
painting as a reference to The
Starry Night by Van Gogh.
The value and tonal changes
in the coloring allows depth
and layers to occur creating
a fictional landscape.
This piece is also about identity
as symbolically, it represents
me as a contemporary youth,
yet I have a long standing
culture in my background,
therefore, the size of the scroll
is tailored to my bodys
dimensions
I signed the piece with my insignia
to make the scroll piece resemble
the conventions
Mao and I
Arvin Tsai
2015. Acrylic and ink on canvas, 45x180cm