THE PAINTING AND CALLIGRAPHY OF KIAN PING
By DR HO KAH LEONG / Principal, Nanyang Academy of Fine Arts, 2002
I have known my close friend Kian Ping for more than 20 years. I remember having worked with him as colleagues in the early 1980s of the last century. Together we were sent on an art education delegation to Australia, after which we returned to put up a paper on Art Elective Programme for implementation in selective Secondary Schools and Junior Colleges. The two of us worked hard to promote fine art education in schools, hold annual art exhibition of works by teachers, and invite local and foreign artists to give talks and demonstrations to art teachers. It was no easy task, but we both enjoyed it. It was then that I discovered his talents in calligraphy and painting.
Since his retirement in the mid 1990s, Kian Ping has devoted all his time to fine art; he works ceaselessly on painting and calligraphy, and is able to show remarkable improvement in both.
Slightly over five years ago, I retired from politics and have since been able to spend more time on outdoor painting in the company of Kian Ping and several other artist friends. We keep a regular schedule with which we have covered many scenic spots in the country such as the fishing village in Tuas, Ponggol fishing Bay, Lorong Buangkok, Sembawang Park and above all, Pulau Ubin - our favourite location. In addition to capturing local views, we have also gone to painting trips to China, Malaysia, Vietnam, and Indonesia. Bound by common interest, we often discuss art, encourage one another, exchange views on our works, and have even held joint art exhibitions. The love of painting brought us together and this passionate pursuit enhanced our friendship in return.
Kian Ping excels in sketch, oil painting, ink painting and calligraphy. He holds the opinion that he does best in oil painting and calligraphy - I couldn't agree more.
In his oils, Kian Ping puts an emphasis on line and brushstroke. His early works - be it landscape or figure - feature the use of analogous colors in search of harmony and unity. These paintings reflect clear layers with texture and boast lines that are energetic as well as fluid; I trace the influence on this rhythmic style to his cultivation in calligraphy. His recent pieces are becoming radiant and colourful, in addition to mature brushwork. His landscape paintings are done in broad-sweeping style without being restrained by minute details. It is obvious to me that in creating an oil painting, Kian Ping seeks to attain the aesthetic criterion of "realm" - the dream of every traditional ink painter. He strives for the basic demands of "depicting mood with background, composition with middle ground and substance with foreground". A painting is not an imitation of nature; an artist must enrich his work with his emotions and artistic refinement to create a good painting. Element of artistic refinement originates from the cultivation of individual artist. Besides painting and writing, Kian Ping reads art catalogues, visits museums and exhibitions to assimilate the merits of good artist. This is the one and only way to elevating one's artistic cultivation.
I am fond of the calligraphy of Kian Ping. I particularly appreciate the hidden elegance in his sturdy and seasoned brushstrokes. There is a Chinese saying that calligraphy is the reflection of the calligrapher. Just like his crisp and decisive writing style, Kian Ping is magnanimous, warm and generous. His calligraphy is of remarkable standards and I'm sure one day his work will illuminate the field of calligraphy.
On the eve of his first solo exhibition, Kian Ping has published an art album which collects his oil paintings and calligraphic works of many years. The volume, which is in spirit a crystallization of his art, is to be enjoyed and cherished.
© Dr. Ho. Kah Leong
