One is straight away struck by the paucity of words availed to expound this chanced-upon poiesis born in the crevasses of cultural hybridity and nourished in the no man's lands of ascetic transmutation...

Laubies, Aphorism No. 10

French critics would want that the dripping of Pollock comes from Masson, whereas it is known that the Chinese of the high time had dipped their hardened hair or their beards in ink, and that they spat. All to reject habitual technique, in wanting to be a simple medium of the "vital breath." It is this simplicity that made great Chinese painting. Ma Yuan (1190) and Bada Shanren* (1630) are the pure abstract ones, because the stain held their interest, not the rock or the boat that the stain may have suggested. The Occident needed to wait for this abstraction, to recover this attitude, this freedom, this "brilliant carelessness," this chance exploit.

Les critiques français voudraient que le dripping de Pollock vienne de Masson, alors que l'on sait que les Chinois de la haute époque ont trempé leurs cheveux ou leur barbe dans l'encre, qu'ils ont recrachée. Tout cela pour rejeter l'habilité technique, en se voulant le simple medium du "souffle vital". C'est cette simplicité qui à fait la grande peinture chinoise. Ma YUAN (1190) ou Pan Tan Chan Gen* (1630) sont de purs abstraits, car c'est la tache qui les intéresse et non le rocher ou la barque qu'elle peut suggérer. Il à fallu attendre l'abstraction en Occident pour retrouver cette attitude, cette liberté, ce "laisser-aller génial", ce hasard exploite.
(Laubies,  2001.)
N.B.: I have changed Laubies' original spelling "Pan Tan Chan Gen" to the apparently more standard "Bada Shanren".

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