Alvin Ailey American Dance Theater: Revelations

CHU TEH-CHUN (ZHU DEQUN, 1920-2014), Flot de lumières (Stream of light), signed in Chinese, signed ‘CHU TEH-CHUN’ and dated ‘90’ (lower right); signed and dated ‘CHU TEH-CHUN 90’, titled ‘Flot de lumières’, signed in Chinese (on the reverse), oil on canvas, 130 x 97 cm. (51 1/8 x 38 1/8 in.), Painted in 1990, Image Source: Christie’s

“Line is an important element in painting; it composes the forms and demonstrates the brushwork of an artist. Chu’s brushstrokes are rapid and ever-changing, with varied speeds, weights and rhythms. Lively and energetic, Chu’s brushwork scales the image like a dancing snake. He once said, “I am from the East, and there are a lot of abstract elements within the core of our culture. For instance, our calligraphy is an abstract art.” … By utilising the ‘bone method’ to bring liveliness to brushwork, the imagery and spirit becomes the best representation of form…This indivisibility between calligraphy and paintings causes Chinese paintings to carry a strong element of calligraphy, in terms of lines and use of ink and to have their own abstract beauty… Brush and ink are not only about technique but also a carrier of emotion and spirit. Chu freely expresses his feelings through his brush and creates powerful imagery.
READ FULL ESSAY: Christie’s

“Alvin Ailey American Dance Theater is celebrating six decades of “Revelations,” a choreographic masterpiece that has become a lasting cultural treasure beloved by generations. The piece, which premiered in 1960, pays homage to and reflects African-American cultural heritage, which Ailey considered one of America’s richest treasures – “sometimes sorrowful, sometimes jubilant, but always hopeful.””