Chung Chen Sun is an accomplished and world-renowned artist as well as art educationist. Being the founder of the Malaysian Institute of Art and initiated the International Contemporary Ink Painting Association, what he has contributed to art education and the development of ink painting is remarkable. For decades, Chung has been creating a new paradigm for contemporary ink paintings. There are hurdles along the way, but the journey is worth the while. He is one of the most acclaimed ink painters of our time. His unique style has drawn great attention and admiration from the art fraternity around the world.

Ink paintings have a long history and tradition. What began as quintessentially Chinese has been developed and spread far and wide. Throughout the years, we have seen great masters representing a proliferation of styles, leaving behind a scintillating legacy of artistic achievement. However, this came to a premature halt in the mid-19th century. Respect for the past became restraint for the future. As more and more artists turned to their predecessors for inspiration, creativity lost its spark. It was common to see works of ink painting following the footsteps of the old masters too closely, too faithfully. The urge for innovation ebbed, as ink painters became more and more content with flawless imitation. With the arrival of the 20th Century came new hope for ink paintings, thanks to the great talent in artists like Wu Chang Shuo, Qi Bai-Shi, Huang Bing-Hong, Pan Tian-Shou, Lin Feng Mian, Xu Bei-Hong, Li Ke-Ran and Fu Bao-Shi, who were keen to end the creative dry spell. The development of ink paintings soared to new heights, when these masters 'took from tradition to open up new vistas" and "harmonized artistic styles in the East and West".

But where do ink painters go from here? The way forward remains an important issue, given the pace of progress in the world today. Fundamentally, there were two impediments in their way, one conservative and the other radical. Some artists held on to the time-tested conventional approach, paying no heed to the need of new aesthetics in tune with the change of time. Some others, however, choose to focus on "artistic reformation". With eyes only for unending "changes and breakthroughs" in Western art, they severed ties with a rich heritage. In addressing the problems facing ink paintings in the East, they seek to adopt the radical approach originated from the West. Understandably, as the society progresses, art must evolve. Evolvement of artistic styles may either be the product, or the prelude, of political and economic changes. In both cases, it must be rooted in a social reality with reference to the historical and cultural background. Tradition is not to be cast aside; the radical approach, which characterizes modernism in the West, is not the only way to go. It was against such social backdrop, and with such issues in mind, that Chung Chen Sun entered the scene.

Bom into a well-educated family in Nanyang (the South Seas), Chung has been exposed to traditional Chinese cultures from young. He received training in the Nanyang Academy of Fine Arts from 1953 to 1955. Founded in 1938, the academy had identified its direction in "establishing a foothold locally while employing artistic elements of the East and West to create a new art with local flavours**. When it comes to the teaching and creative works of ink painting, the academy advocated the style of the Shanghai school and the incorporation of the Metal-and-Stone (Jinshi) freehand technique in expressing local subject matters. During that time, Chung was deeply moved by Principal Lim Hak Tai's dedication to art education. His creative instinct, meanwhile, was given a boost by his teachers such as Cheong Soo Pien, Chen Wen Hsi and Chen Chong Swee; their untiring pursuit of a unique Nanyang style and subsequent achievement was an impetus for Chung's personal quest. Chung received solid training in both Eastern and Western techniques, but what won him over was Ink paintings and calligraphy. His brush works captured the attention of his teachers, and won him much praise. A distinct Nanyang art style began to take shape in the 1950’s in Singapore and Malaysia. Chung was zealous about this. It was against such a cultural background that he began his career in art education and his pursuit as an artist. He lobbied hard to spearhead the cause and on June 29, 1967, not long after Malaysia celebrated her independence, the Malaysian Institute of Art was born. Its self-entrusted mission was to create a cultural identity for multi- ethnic Malaysia. The institute founded by Chung was certainly a new chapter in Malaysia's contemporary art education. It imparted knowledge in fine arts, design and performing arts, establishing a solid foundation for art education to flourish. Not only did Chung tap the success experience of art education in the West, he also took into consideration the social reality in the East in general, and Malaysia in particular. He set out to strengthen the idea of humanism; to raise the level of aesthetic appreciation; to bring art, science and technology together - all aiming at the ultimate state of beauty and perfection. For decades, the institute has contributed significantly to assimilating traditional cultural values of different ethnic groups, facilitating ethnic harmony and nurturing budding young artists. In the early 90’s, Chung opened up a new frontier in art education by founding international contemporary art academies in Mongolia, Yunnan and Hunan.

Chung's commitment to art education and the administrative duties did not deter his passion for ink paintings. He continued his quest for a new Nanyang style, and explored the contemporary visual language of the ink and brush.

He began working on his art pieces in the mid 1950’s. It has since been half a century. Although his artistic pursuit and style has undergone phases of changes, the underlying thinking remains the same – that his is a pursuit of artistic expression in a modern era without neglecting the mission to spread the spirit of traditional culture. It is also about discovering the possibilities of ink and brush, learning extensively from the achievement of contemporary western art, exploring techniques and skills for innovations, and coming up with ink paintings that reflect the characteristics of our time.

Chung began studying in detail traditional Chinese paintings in the mid 1950's. Using ink and brush, he worked on subject matters unique to the Nanyang region, just as the first generation of Nanyang artists did. He soon realized that while the Malaysian art fraternity was energized by the impact of western modernism, Chinese paintings remained rather 'literati' in outlook, advocating nothing else than "traditional techniques, local themes”. It dawned on him that a new artistic style went beyond the choice of subject matters-- it had more to do with new visual languages. He once said, “Personally, I think the choice of subject matters is of secondary importance. Whether these allow for ink painting to reveal its artistry in full, and exude such spirit and aesthetics of harmony 一 that is the most important." As time went by, Chung focused more on the picturesque language of ink and brush. During the 1960's, he sought to expand his artistic horizon. Besides experimenting with different techniques, he also studied the use of lines and dots in traditional Chinese calligraphy, as well as its rhythmic appeal. Attempts were made to bring out the spirit of Chinese culture with oil paint--Chung ventured to apply colours and textual effects of oil paintings and murals in his ink-and-brush works. Theories on composition and abstract presentation in modem Western art could be traced in his ink paintings. Such was the diversity in his vision and discovery that his ink art and brushworks became even richer, and the materials and expressions even more colourful. It was on this basis that he ventured further to reinvent a bold and powerful artistic language in ink and brush.

What seems thought-provoking is that when an artist in the East is exposed extensively to the art in the West, they will appreciate the Oriental art. In the early 1970’s, Chung toured Europe and the United States studying modern western art. He became conscious that traditional cultural values must be safeguarded as the society went through modernization. Towards the end of the 1970’s, the source of Chung's inspiration came in the form of indigenous Sarawakian art. The natives of East Malaysia use rugged lines and geometric shapes of primary colours to represent the simplicity and honesty intrinsic to them - it is a "return to simplicity". It was around this time that his interest towards Chinese culture and art deepened. He felt that, as the society underwent transformation, the profound Chinese traditional culture had significant cultural implication to the future society. He became engrossed in the teachings of Confucianism, Taoism, and Zen when he was researching on Chinese culture and art related to traditional ink paintings. As seen from his freehand (Da Xieyi) works, he attempted to infuse his figures with personal philosophies. Into the 80’s, Chung focused on the assimilation of truth, perfection and beauty. He explored new expressions for space, incorporated faceting techniques of Han stone carving in his ink works, and studied artistic representation of ink and brush. As his works became more unfettered, his fertile imagination took over. He assiduously sought breakthroughs in the world of the abstract. His works became very distinct and highly personal in style. As we enter the 21st century, we will witness the works of an artist totally free from his constraints--this is a new world of art.

Family influence and education has much to do with Chung's passion for ink paintings. However, it is his own experience 一 the nature of this art form, its unique visual language and his personal feeling towards it 一 that makes ink paintings his love of a lifetime. As the saying goes, "How can you catch tiger cubs without entering the tiger's lair?" Chung knew that he had to master traditional techniques (entering the tiger's lair) to get the best out of traditional ink paintings (the tiger's cubs). This way, he is able to tell the "wheat" from the “chaff'. In the context of modern art, Chung is now able to forge new paths out of the traditional approach.

Chung Cheng Sun is well-versed in the art history and evolution in the East and West, having studied and compared both. After much deliberation, he concluded that “Chinese art, including ink paintings, is essentially the realization of the two-way thinking prevailing in Oriental philosophies, whereby both the positive and negative aspects are explored, and integrated. This differs from the one-way thinking in the West. The mode of thinking may have its roots in me.” These words not only reflect Chung's understanding of the dialectical thinking behind Chinese art, they are also the basis of his innovative artistic outlook. The artist has rejected a single-minded and metaphysical stand and approach. His creative path is neither conservative nor radical. 

Traditional ink painting is an art form that goes beyond the technique. Infused with Confucius, Taoist and Buddhist thinking, ink painting is human, and humanistic, aura-filled and enlightening. Its bond with the material world is indissoluble; and yet, it has transcended the physical realm, thanks to its spiritual richness. Ink paintings appear so much lighter and simpler in comparison to oil paintings. However, the difficulty an ink painter encounters, and the content an ink painting offers, is as immense as that of oil paintings, if not more so. Not only does freehand (Xieyi) ink painting require much practice, it also challenges one's courage, wisdom and swiftness in response in the course of execution. Painting with ink is just like boxing in the ring - one must concentrate, form judgement on the situation and timing, and react quickly to changes and development. French writer Buffon once said," The style is the man himself'. Perhaps, it is equally correct to say, “The ink painting is the man himself'. The flexibility of ink painting is certainly determined by the adaptability of the mind of the man (the artist). In Chung's case, he is well aware of the value of ink paintings. He sees in traditional ink paintings the ideas of "Benevolence" (ren) of Confucianism. “Quiet Void” (xujing) of Taoism, “Enlightenment" (dunwu) of Buddhism and the philosophy of "the Universe and Man as one” (tianren heyi). Ink paintings emphasize the integration of nature and humanity. The inner and the exterior, or the spiritual and material worlds, assume equal importance. The pursuit of spiritual and natural beauty will ultimately lead to the assimilation of “beauty” and “perfection”. Such artistic manifestation is significant in the highly industrialized society today. These works of art soothe our emotions and uplift our spirituality, otherwise smothered by fiercely competitive survival. For an old art form to shine through in the industrial era, however, it has to respond to the aspirations and aesthetic preference of the day, by changing, improving and perfecting its concepts and techniques. Meanwhile, it is important to draw nutrients from modem Western paintings for further enrichment. Suffice to say, Chung Chen Sun's ink paintings exemplify the principle of harmony perfectly - the traditional cross path with the modern, and the East meets the West. This approach has reaped even more bountiful harvest in the last decade or so.

Appreciating Chung Cheng Sun's ink paintings from the aesthetic point of view, I have made a few observations: Firstly, Chung has preserved the fine tradition of Chinese ink paintings. His works are an expression of the spirit and the mind; he does not paint to represent the physical form with precision, but rather convey inner feelings and thought. It is about strength and beauty. Take for example his work "Peace to All Men" which features a monk with a sack (Fl). The work goes beyond the subject matter - the relaxed and content mood brings out the artist’s message: "May the world be reminded to live in peace" and “stay away from pointless argument, gossip and worries". Another example is a work entitled “By Honest rather than Crooked Ways". Here, Chung portrays an old fisherman angling with a straight bamboo stick (F2). The appearance of the fishing rod echoes the simple and forthright character of the fisherman, and the inscription of the painting: be honest in one's dealings and don't resort to bragging, bending, and begging，a reminder for both the artist himself and his friends. Another example is a freestyle (da xieyi) painting entitled "And Upright Scholar" (F3). The inscription goes: "Be at the right place under heaven and walk the right way (tao) of the world". In this painting, the figure is as bold as the brushstroke and composition, lending to it such weight that befits a person of character and righteousness. One has to admit that the painting is an aesthetic pleasure as well as source of inspiration. Such work of art is difficult to come by, for the simple fact that it is much more than a visual record of the world around us. It is rather a melange of one's experience towards history, the society, and life together with the personal view towards art. To bring out the imagery effectively, the artist has to be very skillful in instilling symbolic meanings into their works of portrait or landscape. The school of traditional Chinese literati paintings emphasizes the importance of "reading ten thousand books and travelling ten thousand miles". In this way, it is believed, an artist will be able to build on the wisdom of his predecessors, and take in as much knowledge and experience as possible to open up one's mind and vision. Chung subscribes to such theory of all-rounded exposure and practices it. He seeks to understand the Way of Life and Art, devoting much time in reading, seeing, experiencing and thinking. To appreciate Chung's works is to capture its spirit besides admiring his techniques. The spiritual content may come from the objective world and the strength of the artist's personality. Judging by Chung's works, however, what he portrays would be more of an expression of his rich inner world.