Exterior Appearance and Inherent Quality—the Art of Li Hongwei

Peng Feng

Professor of Art History, Dean of The School of Art

Peking University 

Influenced by Western aesthetics, contemporary art often emphasizes ‘exterior appearance’ (waiguan), making imagery the focus of artistic praxis and research. In contrast, Chinese aesthetics tend to value ‘materiality,’ with mediums such as jade, porcelain, and lacquerware, highlighting the material’s importance. Although the ancients stated, “Jade is not valuable until it is carved,” “uncut jade and unrefined gold” represents art’s highest level. Nevertheless, this idea does not imply that Chinese aesthetics deny the importance of exterior appearance. Rather, Chinese aesthetics emphasize the harmony between exterior appearance and ‘inherent qualities’ (neizhi), considering exterior appearance as a manifestation or extension of inherent qualities. In describing a beautiful appearance, Li Yu states: “It is like the flames of a fire, the light of a lamp, and the luster of pearls, gold, and silver. Such elements are intangible and formless, possessing an intangible quality resembling tangible substance. Hence, they are known as ‘extraordinary objects.’ Extraordinary objects are also strange objects, beyond explanation.” Here, “flames,” “light,” and “luster” are not purely exterior appearance; they are closely related to the inherent qualities of the materials “fire,” a “lamp,” and “pearls and precious metals.” The connection between exterior appearance and inherent qualities, where exterior appearance manifests or extends inherent quality, is thus evident. Because of this close relationship between exterior appearance and inherent quality, beauty can be “manifest yet intangible, formless and yet perceivable.”

Hongwei is well-versed in these principles. After mastering the techniques of crafting exterior appearance, he turned to cultivating inherent quality and began focusing on ceramic materials, which are less commonly used in modern sculpture. After numerous experiments, Hongwei mastered the crystalline glaze technique and elevated it to new heights. The splendid appearance of Hongwei’s works is a result that spills out from their materiality. Hong Wei employs not only traditional ceramic materials but also modern metallic substances, as well as the combination and contrasting of both. Hongwei never aims to create mere visual spectacles; he seeks to imbue his works with profound meaning. For this reason, he uses materials to restrict appearance while using appearance to highlight the inherent qualities of materials.

However, it is important to emphasize that the inherent qualities in Hongwei’s works not only point to the artwork’s material but also to Hong Wei’s spiritual search. Despite shuttling between China and the US for many years, Hong Wei has a special fondness for traditional Chinese culture, especially the spiritual principles of Buddhism. Furthermore, his affinity for ceramic materials is not unrelated to his pursuit of Buddhist spirituality. On the surface, Buddhism and Daoism both advocate simplicity and purity, however, Buddhism places greater emphasis on the intensity of internal cultivation. This paradox is like ceramics, where the intense firing process lies beneath the surface of simplicity. Nonetheless, Hongwei does not succumb to the intensity of cultivation; his internal cultivation, manifested through materials, ultimately presents itself via splendid appearances.

Following Hongwei’s artistic process, we can experience the joy of inherent qualities becoming manifest in exterior appearance and feel the tranquility as exterior appearance converges back into inherent quality.