Artist: Zhao Hong (b. 1967)
In 2011, Mr Lloyd Zhao Hong arrived in Singapore and astounded art appreciators and critics with his brilliant culturally rich paintings. Born in Beijing, China, in 1967, Mr Zhao Hong was a mere child when he was exposed to the art of calligraphy by his father. This introduction would unconsciously shape his later painting styles that featured traditional Chinese cultural figures in his ink wash paintings, and used poetry to complement his artworks. Familiar with the ancient techniques of Chinese calligraphy, Mr Zhao Hong also adapts his teachings to create a more realistic, modernised style of ink wash paintings.
Now, Mr Zhao Hong is a seasoned local ink artist, art critic, curator, the contributor to two Singapore magazines, the member of the Language League Panel of National Gallery Singapore, and a Permanent Advisor of Federation of Art Societies of Singapore. Passionate about heritage and culture, Mr Lloyd Zhao Hong is actively involved in the Singapore arts scene as both a contributor and a critic.
With her nimble fingers, a girlish female with a coy expression carries an unraveled scroll that says “Do not disturb unless given permission” as she seems to tease passing art appreciators. Beckoning at them with her doe-like eyes and bashful smile, this cheongsam nymphet holds an inviting gaze that is contrasted to the warning sign she displays.
While dressed in traditional Chinese attire, the girl’s hair is cropped in a short bob above her ears that is somewhat contemporary and Westernised. In this context, the “Do not disturb unless given permission” caution may be viewed as an ironic comment made towards foreign cultural influence infiltrating into the Chinese society. The Miss in Mr Zhao Hong’s art work may be both a beaming recipient of cultural diversity and a defender against it, just as the artist himself possibly is.
In Mr Zhao Hong’s artwork of a male official wearing a Tang dynasty headwear with dropping flaps and simple robe. Behind the painting’s subject is a muscular, tawny horse that is well groomed, and as audiences wonder who this unknown figure is, they are given clues by the 3-lined poem atop the illustrated man and creature.
“五花馬 千金裘 呼兒將出换美酒 (Five pleated horse, Worth a thousand tael coat, Calling for a friend to come enjoy flavorful wine)” is a phrase borrowed from the poem Bring in the Wine (将进酒) by Tang Dynasty poet 李白 (Li Bai). On the surface, Bring in the Wine (将进酒) is an invitation to a wine party where they may relish in the company of friends alongside drinks. The deeper meaning to the poem was Li Bai’s ode to the timely enjoyment of life given its briefness, and a disdain for worldly pursuits of wealth, fame, and status.
It becomes apparent that the illustrated man is the renowned Li Bai, and Mr Zhao Hong’s interesting reference to the Bring in the Wine poem may be the artist’s own sentiments towards a world that still glorifies wealth, fame, and status despite its material progress since Li Bai’s time. By launching the poet’s perceptive wisdom to the forefront through his art, Mr Zhao Hong imitates Li Bai by bidding modern art goers to enjoy the lovely painting with a profound message that penetrates the illusions of worldly pleasures and possessions.
Depicting the 钟馗 (Zhong Kui), a Chinese mythological figure that hunts demons, Mr Zhao Hong pairs the painting with a short poem that reads “饱读诗书未堪用 驱鬼捉魔作文章 (Well-read yet futile, Expelling evil spirits as writing topics)”. With a bushy black beard and bulging eyes, the fierce and terrifying expression of this Daoist deity dressed in bold red-blue silk robes and an elaborate headgear intimidates humans alike. Zhong Kui’s image is often found on household gates and business areas where he acts as a guardian spirit for protection against thieves, bad people, and malevolent spirits.
The deconstructed poem tells the story of Zhong Kui, who according to legend, travelled to Xi An (then Chang An) to sit for his imperial exam. While he passed with flying colours and was the top scorer (状元), imperial ministers turned him away for his hideous appearance that they feared would scare others. Devastated by the news, Zhong Kui threw his head against the stone steps of the palace, thinking that his rightfully bright future was sealed. Mercifully, the King of Hell, Yama, recognised his talent and appointed Zhong Kui as the “King of Ghosts”.
Although Zhong Kui was initially unable to become a scholar, he was able to enhance his skill sets through the catching of ghost (spirits) and eventually become an official. This tragic and inspirational story of Zhong Kui may be Mr Zhao Hong’s way of uplifting the spirits of art goers disenchanted with life that talent or hard work will eventually be recognised in some way.
As she looks afar, the modest lady in a fitting cheongsam standing by the window smiles knowingly. Mr Zhao Hong’s poem “我站在窗外 你站在窗里 我远望著你 想知道哪边是你的天地 (I stand outside the window, You stand inside the window, I watch you from afar, Wondering where your world is)” is reminiscent of the 1963 Chinese novel 窗外 (Outside Window) by 琼瑶 (Qiong Yao) about a teacher-student romance.
The female figure in the painting may be daydreaming of a telepathic connection with the one she fancies, which explains the absorbed look on her face. Strangely, the woman seems to be back facing the window and her profile is instead seen by the audience. Could it be that this vertical, four-edged painting is the window the lady is gazing from? The audience is then catapulted from being a passive viewer to the object of desire and the undrawn lover who is looking at and thinking about the woman in the painting. The many twists and layers to Mr Lloyd Zhao Hong’s pieces marks him a supreme artist and thinker with a playful sense of humour.
Goshen Art Gallery is holding a joint exhibition for the works of Professor Nan Zhi Guo and Mr Lloyd Zhao Hong from 20 July to 1 August 2021 between 11am-6pm.
