Doc ‘Of Color and Ink’ Unravels the Mystery Surrounding “The Picasso of China”

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As a filmmaker, I found myself utterly captivated by the enigmatic life of Chang Dai-chien, a man who defied the odds and embarked on a journey that led him to the ends of the earth. His story is a testament to human resilience, adaptability, and the power of the human spirit.

The renown of Chinese artist Chang Dai-chien (1899-1983) is often emphasized with titles that label him as the highest-earning artist globally.

2016 saw this artist surpassing the earnings of any other painter worldwide, accumulating a total of $354 million. The global media took notice of the intriguing narrative surrounding this figure, who seemed to embody mythic qualities. Clad in Chang’s voluminous robes and sporting a long beard, he was often accompanied by a pet gibbon following closely behind.

But Chang’s life has also long been shrouded in mystery.

Back in ’49, when the civil war was tearing China apart, I had to bid farewell to my homeland and set off on a journey. Unlike many others who found themselves settling in Taiwan or Hong Kong, I, an artist, took a different path. So, where did I end up? That’s a story for another time.

It’s well-established that Chang passed away in Taiwan in 1983, leaving behind an extraordinary collection of artwork and being recognized as the leading Chinese painter of the 20th century. He seldom joined public events alongside his contemporaries; one notable exception was when he crossed paths with Picasso in Paris in 1959 (Chang’s impressive sales would later earn him the nickname “The Picasso of China”). However, a comprehensive account of Chang’s life and era has always lacked detail, leaving some gaps that remain to be explored.

It’s precisely here that San Francisco-based filmmaker Zhang Weimin, along with her documentary titled Of Color and Ink, have entered the scene to make a difference.

In 2011, Weimin stumbled upon some extraordinary video clips of Chang on a San Francisco beach from 1967. Right then and there, she resolved to assemble the intriguing narrative surrounding her life.

Weimin points out that people worldwide can discuss the life experiences of artists like Van Gogh, Picasso, and Monet,” says Weimin during a video call from San Francisco, speaking with THR. “However, despite being a globally recognized artist himself, Chang Dai-chien remained largely unknown.

Over the course of twelve long years following that initial glimpse at the footage, Weimin embarked on a global quest. This journey led her to distant continents such as South America, Europe, Asia (specifically China, Hong Kong, and Taiwan). Her purpose was to locate any surviving relatives, friends, and art scholars who could help her unfold the enigma of Chang’s story.

The film titled “Of Color and Ink” is up for an Oscar in the documentary category at the Academy. It invites viewers on an engrossing voyage, following the life trajectory of Chang over the past three decades. The movie also delves into his enduring legacy, the body of work he created, and weaves in a touch of sorrow and political suspense.

Weimin found a deep connection with this project because he had previously studied art and later specialized as a cinematographer at the prestigious Beijing Film Academy, graduating around the 1990s as part of the Sixth Generation of Chinese filmmakers, which also includes Venice Golden Lion winner Jia Zhangke (known for “Caught by the Tides”).

During film production, Weimin skillfully balanced her duties as a cinema professor at San Francisco State University with her filmmaking role – “I could simply grab a camera and go” – leading to a heartfelt project that earned her accolades. Specifically, she received the Best International Feature Documentary Film Award at the 47th Sao Paulo International Film Festival and the Best Feature Documentary Film Award at the China (Guangzhou) International Documentary Film Festival.

Weimin shared her motivations behind creating “Of Color and Ink” with THR, discussed the methods she employed to solve the enigma of Chang, and explained how the artist’s perspective remains significant in today’s society.

What’s the backstory on the video recordings we have of Chang Dai-chien, taken in San Francisco during 1967? Can you tell us more about that?

A cinematographer, more than half a century ago, shot this film. He labeled it. He watched the film, but literally no one else had done so. So, there was a huge, interesting, very mysterious story behind this footage, but for whatever reason, from 1967 until 2011, no one had tried to solve it. Professor Mark Johnson [professor of art at San Francisco State University] had the film in storage and when I met him, he said “I’ve been looking for an American director who knows Chang Dai-chien to do something with this.” So he understood there was a preciousness, you know, a value to this film, but he needed to find someone who really knew about what its value was. Chang had first visited San Francisco in 1967 and [art historian] Michael Sullivan knew it was an important visit so he had someone film it.

It’s fascinating stuff, with Chang wandering the beach looking like he’s walked in from another century, with his beard and his clothes. What was your immediate reaction when you first saw it?

I found it astonishing, as I’ve delved into Chinese art history, that the whereabouts of Chang Dai-chien following 1949 remained a complete enigma. All people could confirm was his death in Taiwan in 1983, but the events transpiring between 1949 and 1983 were shrouded in mystery, with no one seeming to know or investigate. The details of his life were a blank slate. Upon discovering this footage, I felt compelled to create this documentary.

Remarkably, it turned out that Chang had resided in South America right up until when the video was taken.

Indeed, following the significant turning point in Chinese history post-1949, a considerable number of individuals opted to remain, while others decided to depart. The majority of those who left China typically headed towards Taiwan or Hong Kong. However, what stands out about this individual’s decision is that he chose Argentina instead. Given his reasons for leaving, I can understand the choice, but what intrigues me is why Argentina was his preferred destination over Taiwan or Hong Kong.

That would have seemed, around 1949, to be like moving to the end of the earth.

If you think about it, that is about the farthest place from China he could have gone. His friends tried to persuade him to stay in Hong Kong or in Taiwan — they even wrote a poem for him, saying of all the places in the world, why did you choose that one? So even his parents, his friends could not understand. And, of course, his family didn’t understand either. But he took eight children with him — from 19 years old to 9 months old.

Why do you think no one had talked about this part of his life before?

Chang Dai-chien’s family has always maintained a private lifestyle, preferring to keep their personal affairs out of the public eye. One of his sons was initially hesitant when I initiated an interview, but upon noticing my longstanding dedication, he gradually opened up, revealing heartfelt emotions about his father and sharing behind-the-scenes stories.

It’s never really made 100 percent clear exactly why he went so far away. What’s your theory?

At one point, he expressed his feelings about his life by saying, “I don’t wish to move in cycles like waves or go with the current.” Instead, he was resolute in seeking and connecting. In a painting created just before departing for Argentina [named Peach Blossom Spring], he depicted himself in a boat, which was an unusual placement near the edge of the canvas for him. I believe this was his way of conveying where he was headed – as far removed as possible.

In your movie, it’s shown that following Argentina, he relocated – with his family and devotees – to Brazil, far from Sao Paulo where he constructed a place reminiscent of paradise, named the Garden of Eight Virtues. I wonder, what was he searching for in this move?

There are no documented accounts or records about the duration of his stay in Argentina, his reasons for choosing Argentina, or the length of time spent in Brazil by this individual. These details remain vague and unknown. He often spoke of a “Peach Blossom Spring” – a term referring to a utopian vision of harmony and tolerance – which he aspired to create in Brazil, possibly explaining our journey so far away.

We also see him adapting Western methods to traditional Chinese ink — with incredible results.

He wanted to transcend boundaries. In traditional Chinese philosophy, there’s no boundaries, there’s no Western or Eastern. We’re the same. That’s what he was showing. I think that message is important, even more so now with the way the world is, and I hope this film can give us a little time to think about how our current world is.

It’s a film that also feels deeply personal as you completely immerse yourself in his world.

It seemed necessary for me to share this tale. I had an urge to record an event that underscores the strength of the human spirit, and I wanted to craft a narrative that could motivate and uplift others.

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2024-11-21 19:28