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Depths of Ink: An Interview with Hugh Moss

Celebrated collector, artist, and scholar of Chinese aesthetics, Hugh Moss creates transcultural masterpieces that take you on a journey of self-discovery

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Working under the studio name Master of the Water, Pine, and Stone Retreat, Hugh Moss draws from traditional Chinese techniques to create striking contemporary paintings of scholars’ objects and landscapes.

In the Chinese language, the term “master” when associated with an establishment like a studio simply means “the owner of” without necessarily carrying a qualitative intent. This evocative moniker, however, reflects Moss’s perception of his inner reality and personality, echoing the sentiments of ancient Chinese literati who, through sublime depictions of mountains and water, sought to align their inner selves with the Dao.

A British native who spends most of his time in the East, Moss is undoubtedly a transculturalist, a devotee of Chinese art, and a rarity, moving from the West to contribute aesthetically to the East. While the past century witnessed a significant trend of Chinese artists seeking inspiration and technical training in the West, the last artists to contribute noticeably in the other direction were 18th-century Jesuits, such as Giuseppe Castiglione and Jean-Denis Attiret.

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Strolling Through the Gates of Wonder, ink and watercolour on xuan paper, two panels, each 177 x47.8 cm. Hong Kong, 2022.

Throughout his illustrious six-decade career, Moss has established himself as a connoisseur and advocate for Chinese art. He gained particular renown for his collection of snuff bottles and his diverse range of scholarly arts, including Chinese literati calligraphy and paintings. Along the way, Moss’s artistic journey has taken him to different corners of the globe, including Hong Kong, where he played a pivotal role in championing contemporary Chinese ink art after moving there in 1975.

In the last four decades, Moss has increasingly dedicated himself to Chinese painting, using ink, whimsical stones, and other literati trappings to create landscapes on paper. These artworks are complemented by English text, written in the calligraphic style of Chinese characters, unveiling an idiosyncratic yet congenial unity between the two distinct linguistic expressions.

Through these idyllic depictions, we witness Moss’s prowess in weaving the “three perfections”—calligraphy, poetry, and painting—to create singular masterpieces. In the pages that follow, we delve into his thought-provoking creative process, exploring the masterful fusion of diverse mediums, philosophies, and artistic expressions.

“In wielding the brush and varying the amount of water, ink, energy, and time spent, calligraphic lines transcend the words to reveal the artist’s inner character and sagacity.”

Calligraphy becomes an intimate reflection of Moss’s character—it serves as both a powerful visual experiment and a statement. To Moss, orthodoxy, characterized by a rigid focus on brushwork, tends to stifle the creative potential of ink painting. According to him, as the emphasis shifts from depicting the external world to expressing individual character, the calligraphy brush transforms into a potent tool both for self-realization and expression.

By incorporating English text, which structurally differs from Chinese script, Moss bridges cultural and linguistic gaps. In that sense, his art initiates a dialogue between the linear, alphabetic nature of English and the pictographic, expressive quality of Chinese characters, with each style enriching the other. By merging the two visual styles, he delves into the philosophical and expressive qualities of both cultures.

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The Five Stone Fools of Taihu, ink on Artistico Fabriano paper, 2012. Emma-Lee Moss Collection. 55.8 x 76.8 cm.

“Artistic products, however enticing and entrancing, eventually serve as portals to understanding and appreciating the creative process; they’re entry points to transcendent realms of perception and expression.”

The true meaning and power of art resides not solely in its tangible forms but also in its creative process and in the audience’s response. Moss’s perspective resonates with the deep-rooted beliefs of the Chinese artistic tradition, going as far back as the Zhou Dynasty when the process of creating art was viewed as a path to self-realization and enlightenment.

Moss subtly critiques the Western tendency to prioritize the final product, which has influenced global art perspectives due to the considerable influence of Western thought. Shifting the focus from object to process, he says, signifies a deeper understanding of art and encourages personal growth, self-exploration, and ultimately the discovery of a realm of wonder.

“Art is one of our most sophisticated means of communication: a persistent record of human progress and adaptation. It’s a crucial means of passing on accumulated knowledge from one generation to the next. It’s a primary tool in evolving consciousness and, therefore, civilization.”

To Moss, art is, in short, enlightening and necessary, playing a pivotal role in shaping our understanding of culture, history, and the human experience. In his recently republished book Art Reboot, he argues that the 20th-century global art revolution, largely driven by Western influence, was widely misunderstood. He highlights the ancient Chinese perspective of art as a direct and efficient mediational aid toward attaining a transcendent state of consciousness.

For over two millennia, China’s ancient culture has been guided by the concept of the Dao, or the Way. Art, in this context, has evolved to assist its practitioners and audience on a spiritual path.

With his deep understanding and passion for Chinese art, Moss seeks to join those who intend to revitalize the literati ink painting tradition of Chinese art from within and integrate it into the broader artistic mainstream of an inevitably emerging, transcultural, global art scene. Moss envisions a future where, upon this integration being accomplished, the literati ink painting tradition will play a highly significant role.

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Joined by a Single Wish, ink on cloud-dragon paper, Hong Kong, 2015. 76 x 140 cm.

“I’m intrigued by the Chinese tradition of pictorial art because it brings some very interesting aids to the exploration process, in the form of sophisticated materials and formats.”

Moss’s preferred media are ink and watercolour, which he applies using Chinese brushes on paper. These traditional Chinese ink painting tools—brushes, ink and paper—provide him with what he calls “direct access,” a concept he believes has eroded amid the dominance of Western art in the 20th century. During the process of creation, these tools and formats evolve to become active partners for artists.

Consider Xuan paper, for example; its varying degrees of absorbency encourage spontaneity and challenge the artist’s intentions. Each stroke is a conduit for expression, contributing to self-discovery and improvement, occasionally surprising the artist with unexpected turns and delightful revelations.

“Mountainous landscapes become an infinite resource in an aesthetic culture where we no longer seek surface novelty, but rather meaning.”

For centuries, artists have transformed portrayals of mountains and water into imagined realms, inviting viewers on a “voyage of the mind” where each composition serves as an idealized escape from the ordinary, allowing a profound connection with nature.

Moss contributes to this rich tradition of spiritual landscape painting through his depictions of mysterious mountains, deep valleys, and powerful waterfalls. To him, the creative process of painting a landscape becomes a journey that extends beyond the media. Through the inner language of line, form, colour, and texture, each painting becomes a vessel transcending the tangible, fostering a connection between the audience and the philosophical underpinnings embedded in the artwork.

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The Starry Night Re-imagined through the Gates of Wonder, ink and watercolour on cloud-dragon paper, Hong Kong, 2021. 186.6 x 386 cm.

In one of his recent paintings, a monumental work measuring 186 x 386 cm titled The Starry Night Re-imagined through the Gates of Wonder, two strange stones dissolve into the Dao. The untouched, yet intricately shaped white spaces on “cloud-dragon” paper that simply happened as part of his inner exploration during the painting process, invites the audience to discover their unique interpretation of the work.

Layer by layer, thin colours are meticulously added to create intrigue in the background, allowing it to share in the enigma of the two stones. “From painting strange stones that might transport one to the Dao, I ended up painting the Dao itself,” the Master of the Water, Pine, and Stone Retreat says.

This story is from Magnifissance Issue 124

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