Running head: The problem of abstraction The problem of abstraction as is perceived among Chinese modernist artists during the course of modernism reflects a clear picture of artwork. All genuine artwork such as painting and sculpture represents schematized shapes of abstract things. The abstractness of artwork is quite different from science, logic or mathematics. This means that any piece of art is an imagination of real objects reflected in science, logic or mathematics.
Abstraction in this aspect does not reflect ambiguity rather it is recognition of relational structure apart from specific event, image or fact in which it is exemplified.The difference between abstraction in art and specific structure is a major reflection between art and science in real imagination. A major concern is the purpose for which the work of art is performed. In many instances, abstraction is performed for intellectual purpose and this purpose differs from one context to another Rushing (Jackson, 1995). Abstraction is a process characterized by abstracting a form from its concrete exemplification. The characteristic features of abstraction can be traced from the fundamental distinction between art and science. Considering the Chinese modernists artists such as Chu ko, Liu Guosong and Lu shou-kwan a clear picture is drawn relating to the problem of abstraction. The work of Chu ko implies form, which means visible and tangible shape.
Chu ko is one of the major Chinese artists of exceptional originality. His work represents modern art and he was chosen to represent the Republic of China at the Seoul and Barcelona Olympics. This brief history describes the colorful, bright and strong work by Chu ko. The paintings reflect long tradition of Chinese ink and subtle principles of Chinese philosophy. The problem of abstraction perceived among the artwork of Chu ko is in the concept of reflecting his work on configuration of an experience, something heard or seen, and imaginary objects.
The artwork of Chu ko represents real happenings in the cultural practices of Chinese people and involves the concept of relative distinctness. Lu Shoukun is another modernist Chinese artist known for his Chan paintings in 1969 of ink and color on paper. This artist was influenced by abstract expressionist movement in New York and he began to experiment such abstract expressions through integration of modernist developments with Chinese calligraphic brushwork (Stout Candace, 2000). The work produced by this modernist artist is a reflection of experience with a differentiated progress. Abstraction in this aspect reflects artistic intuition, which begins with perception of total configuration.
The cultivated thought of abstraction emerged from spontaneous intellectual practice. Symbolic expression of artwork is a means of abstraction and this creates a problem in interpretation of pictures. Different users of artwork find it hard to express their feelings and egoism in relation to a real situation (Levenson Joseph, 1958). This is one major problem of abstraction, which is deemed to promote primitive thinking.
Guang Gong abstraction artwork represents power, honor and strength and is regarded as god of wealth.Many politicians and business leaders see these paintings as source of power, which is an impeachment of religious observations. Appreciation of pure conceptual forms entails difficult attainment of civilized thought. Some abstractions cannot be made verbally by all means but a major concern is exemplification of artwork in language. The principle that dispenses abstraction does not dispense with all forms of art and this creates a major problem in the use of language.ReferencesRushing Jackson, 1995, Decade of Decision, Art Journal, Vol.
54.Stout Candace, 2000, In the Spirit of Art Criticism: Reading the Writings of Women Artists, Studies in Art Education.Levenson Joseph, 1958, Confucian China and Its Modern Fate: The Problem of Intellectual Continuity, University of California Press.