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Lot Essay
Zhang Xiaogang was inspired to begin his iconic Bloodline series after discovering an old photograph of his mother in her youth. Soon after, he began producing individual portraits of young comrades in Chairman Mao's "revolutionary family" in a series that would define Chinese contemporary art history. The Cultural Revolution (1966-1976) and its effects is a central theme in Zhang's works, but rather than pursue this topic as a matter of politics or ideology, the Cultural Revolution for Zhang serves as a metaphor, as a psychological state, an underlying force that continues to haunt his generation even as it embarked on a radical and unprecedented path of modernization. Zhang's interest in psychology and experience has set him apart from his contemporaries as he explores the subconscious effects of collectivism, history, and memory in contemporary China.
The paintings in the Bloodline series reference the common studio portraiture and the identifying photographs required of every citizen taken during the height of communism, a time when most were trying to disappear under the pressure of a collective ideal. The outline of the face and body, as well as the features, is suggested by the subtle blend of various tones of gray. As Zhang appropriates the conventionalized poses and composition of the anonymous sitters, he minimizes their individualistic characteristics, which can only be found in the slight distinctions in dress, difference in hairstyle, or in the mildly cross-eyed sitter.
The painted bloodlines that extend out from the figure refer to the vein-like threads symbolizing the burden of history, and to remind us of the obligations and expectations both of the traditional Chinese family and this period in which the ideals of collectivism dominated. The artist has stated, "On the surface the faces in these portraits appear as calm as still water, but underneath there is great emotional turbulence." The blotch of red that hovers on the surface of the painting is an effect similar to the damage caused to a photograph that has been handled over an extended period of time, a motif which has evolved over the years and allowed him to develop and isolate different aspects of the series. The brilliance of Zhang's works is in his ability to engage the viewer directly and viscerally, communicating the distinct and conflicting qualities of the contemporary Chinese experience in these singular and arresting portraits.
The paintings in the Bloodline series reference the common studio portraiture and the identifying photographs required of every citizen taken during the height of communism, a time when most were trying to disappear under the pressure of a collective ideal. The outline of the face and body, as well as the features, is suggested by the subtle blend of various tones of gray. As Zhang appropriates the conventionalized poses and composition of the anonymous sitters, he minimizes their individualistic characteristics, which can only be found in the slight distinctions in dress, difference in hairstyle, or in the mildly cross-eyed sitter.
The painted bloodlines that extend out from the figure refer to the vein-like threads symbolizing the burden of history, and to remind us of the obligations and expectations both of the traditional Chinese family and this period in which the ideals of collectivism dominated. The artist has stated, "On the surface the faces in these portraits appear as calm as still water, but underneath there is great emotional turbulence." The blotch of red that hovers on the surface of the painting is an effect similar to the damage caused to a photograph that has been handled over an extended period of time, a motif which has evolved over the years and allowed him to develop and isolate different aspects of the series. The brilliance of Zhang's works is in his ability to engage the viewer directly and viscerally, communicating the distinct and conflicting qualities of the contemporary Chinese experience in these singular and arresting portraits.