Kite art

Author: Kong Xiangze, Kong Lingmin, Kong Bingzhang contributed, Beijing Art and Craft Publishing House compiled
Publisher:
Publish Date: 2006-03-01
Features: The [Cao-style kites] showcased in this book possess unique value in both their construction techniques and painting artistry. Kites have traditionally been divided into northern and southern styles, with the southern style called [hao] and the northern style called [yuán]. The Comprehensive Craftsmanship of Southern Hao and Northern Yuan combines the distinct characteristics of kites from both regions, inherits the forms of various traditional kites passed down through generations, and through comparison, research, and improvement, establishes the [Cao-style kite] as a distinct school, becoming a culmination of Chinese kite art. Kite-making is a comprehensive art, and [Cao-style kites] particularly emphasize their artistic charm. From a craftsmanship perspective, they emphasize the four arts of construction, assembly, painting, and flying. In terms of construction and assembly techniques, their [Three Stops and Three Releases] method aligns with the principles of mechanics, and their structural skeletons vary in size and design depending on the season and location, whether for strong winds or gentle breezes, all capable of soaring high into the sky. In terms of painting artistry, they focus on [intentional craftsmanship] and [bewitching brushwork]. Especially for swallow kites, they adopt anthropomorphic painting techniques, not only featuring vibrant colors that are pleasing to the eye but also employing delicate and varied brushwork to create exaggerated yet lifelike depictions. Additionally, they emphasize the artistic effect of unifying the kite’s flight with visual perception. In terms of flying techniques, they prioritize practical flight performance, employing different methods based on varying wind conditions and directions, while alsoing the aesthetic beauty of kites that embody dynamic grace even in stillness, achieving a magical realm where the sky becomes paper, clouds become water, and the kite soars through the celestial palace. Overall, [Cao-style kites] possess extremely high artistic value, including scientific rigor,, aesthetic beauty, rhythmic sensibility, and the significance of movement.
Regarding the Comprehensive Craftsmanship of Southern Hao and Northern Yuan and Drafts from the Waste Art Studio, the Redology community has long held differing opinions; let alone the Comprehensive Craftsmanship of Southern Hao and Northern Yuan. As someone not an expert in [Redology], I lack the time to verify their authenticity, but I believe the key issue lies in whether [Cao-style kites] themselves possess artistic value. As Mr. Kong Xiangze, one of the authors of this book, argues, all debates are unrealistic until the physical copies of the Comprehensive Craftsmanship of Southern Hao and Northern Yuan (including Drafts from the Waste Art Studio) are seen. What matters most is the objective value of the preserved content of the book, which does not increase or decrease in worth simply because it may or may not have been written by Cao Xueqin. If this part of the content is valuable, who wrote it becomes irrelevant—it is still worth studying. Of course, if one approaches it solely from the perspective of Redology, that would be a different matter entirely. Indeed, one should view it in this light.