Chinese paintings often embrace the concept of empty space or negative space. Blank areas in the painting are intentionally left empty to create a sense of leisure, tranquility, and, more importantly, openness, allowing viewers’ imagination to fill in the gaps. By intentionally leaving areas of the painting empty, the artist allows the viewer’s gaze to rest and encourages contemplation. The empty space provides the viewers with a visual pause and contributes to the overall balance and harmony of the composition. It invites the viewer to engage with the artwork and encourages a leisurely appreciation of the depicted subject matter.

It is said that the use of blank space in Chinese painting is a deliberate artistic choice that serves specific purposes and carries deeper meanings. I have almost zero experience in Chinese painting. So I cannot verify this statement. But it is well known that the intentional use of blank space in Chinese painting requires skill and mastery in order to achieve the desired aesthetic and convey the intended emotions or themes. Emptiness is highly valued and is considered an essential element of Chinese artistic composition. The strategic use of empty space can be thought of as creating a harmonious and aesthetically pleasing composition.

Nowadays, many artists, such as conceptual artists, also engage with the idea of applying empty space as a means of exploring the relationship between the artwork and the viewer’s perception. The use of blank space becomes a symbol of challenging the conventional understanding of composition as a purely filled space. By intentionally leaving areas empty or minimally detailed, artists disrupt the expectation of a complete or “filled” composition. This breaking of boundaries provides a sense of openness.

It seems to me that the key of emptiness is to empower viewers with some imaginary freedom. By filling the empty space with colours, the artist is supposed to essentially eliminate some degrees of freedom. Colours, including the white colour, would become a form of content rather than an absence of it. (The white pigment may still create a sense of blankness or emptiness, but it could also introduce subtle variations in texture or tonal values that differentiate it from the untouched white areas of the paper. Brushstrokes, variations in tonal values and textures all can alter the visual perception and impact of the blank space.)

By actively painting colours, the artist makes a deliberate decision: guiding the viewer’s perception and interpretation of the artwork.
 That’s to say, painting the blank space with colours can also stimulate and expand the viewers’ imagination. Through the intentional placement of strokes, imagery, or ideas within the empty space, the artist directs the viewers’ attention and challenges established norms, provoking thought and encouraging viewers to recompose their preconceived notions about the artwork and its meaning.

As an artist, I confronted the question of whether to embrace or abandon the concept of emptiness in my artwork. This question arose when I had to decide whether to continue filling in the painting (image 1) with more details or stop with a semi-complete framework. The resulting image (image 2) reveals my choice to abandon the approach of blank space. This decision prompted my reflections on the concept of emptiness.

To reveal my reasoning for the decision, let me begin by introducing a mathematical concept called null space. In mathematics, the null space is a fundamental concept used to understand the behaviour of linear systems and solve equations. In a system of linear equations Ax=0, where A is a matrix of coefficients and x is a vector of variables, the null space provides information about the solutions of x. In fact, the null space is the solution space of Ax=0 and is also known as the kernel. The system of linear equations is used everywhere in image processing since all the operations, like blurring, sharpening, resizing, and colour adjustments, involve the mathematical operations applied to the pixel values. (The solution space of equations for the pixels would typically refer to a system of equations used to manipulate or process the image, such as image filtering or transformations.)

I mention the concept of null space because it serves a similar role to that of the blank space in shaping our perception and defining the visual content and aesthetics of an image. The null space represents vectors that map to zero, indicating an absence of content or information in that particular direction; similarly, empty space refers to areas within a composition that are intentionally left unoccupied or devoid of explicit content. Both null space and empty space can signify a void or absence, highlighting the significance of what is not present. However, the null space provides a definitive understanding of how it functions in determining the presentation of an image to the viewer, while the openness to interpretation and the degree of freedom in the art cannot be quantitatively specified.

The null space represents a range of possible solutions (the solution set of x) that lead to a zero output in Ax=0. When the system of equations has fewer possible solutions, it means that the null space is small. On the other hand, when the null space is large, it means that matrix A has a higher dimensionality: there are many linearly independent vectors that satisfy Ax = 0.

A small null space implies that the system of equations has fewer possible solutions, leading to more constrained and restricted solutions with fewer degrees of freedom for the variables. It can also indicate consistency, meaning at least one solution satisfies all the equations. On the other hand, a large null space can result in an infinite number of solutions, as the variables have more degrees of freedom, allowing for multiple sets of values that satisfy the equations. In this case, the system may be underdetermined, with more variables than equations. A large null space also suggests redundancy in the system of equations, where some equations can be expressed as linear combinations of others.

Based on these facts, I arrived at my conjecture regarding the analogous results for blank space. A large blank space could offer an infinite number of interpretations and responses to the artwork. However, increased freedom for viewers may result in a multitude of possible, sometimes contradictory, meanings. Additionally, certain emptiness within the composition could be redundant, as its presence does not significantly impact the overall meaning. Conversely, a small blank space may be limited to a singular narrative, indicating coherence and cohesion in the artwork. It suggests a clear and consistent concept or theme conveyed by the artist.

By making this comparison, I can clearly see why I should limit the amount of empty space in the contemporary inferno project. If viewers have little inclination towards imagination or struggle to engage with empty space, the action of filling the blank space with content may be more effective in conveying intended meanings or engaging them with the artwork. By providing explicit visual information, the added content leaves little room for ambiguity and distortion.

Let’s recall that Dante’s Inferno was written during the dawn of the Renaissance in Europe, an era that was characterised by a renewed interest in humanism, scientific inquiry, and a revival of classical Greek and Roman art forms. Art at that time placed great emphasis on realistic representation, perspective, and capturing the physical world in intricate detail. In contrast, the concept of emptiness, or “wu” in Chinese philosophy, persisted significant role in Chinese art and culture, prioritising the expressional forms of inner reflection and harmony with nature.

Such persistence in addressing emptiness in Chinese art could be attributed to the cultural and philosophical influences that shaped Chinese artistic traditions. Rather than striving for detailed realism, explicit storytelling, or specifying a space of potential, possibility, and contemplation, Chinese artists sought to evoke emotions, convey feelings, and leave gaps for the viewer’s imagination.

While the Renaissance in Europe brought about significant artistic advancements, the absence of a similar movement in China allowed for the continuation of its artistic approaches that emphasised emptiness and its philosophical depth. While the continuation enables Chinese art to maintain its distinctive aesthetic and conceptual traditions, I really doubt that a “spirit” of the “re-naissance,” the opening of a new netherworld, could survive in a blank space with infinitely contradictory interpretations placed ahead.

The Renaissance, a period of intellectual curiosity, emphasised efficiently appropriating the desire to advance knowledge and celebrate human potential. During the Renaissance, there was a growing interest in the study (reinterpretation) of classic texts, the sciences, and the natural world. Scholars and artists sought to expand their understanding of various fields, including anatomy, physics, mathematics, and astronomy. Their aim was to acquire knowledge and utilise it to enhance human capabilities and achievements. Artists during the Renaissance were driven by a desire to represent the world accurately, observe nature meticulously, and capture the beauty and complexity of the human form. They utilised techniques such as linear perspective, anatomical accuracy, and realistic portrayals to achieve a heightened sense of realism and capture the essence of the physical world. None of these techniques could be advanced if the space is largely blank.

Therefore, for the contemporary inferno project to progress, I believe it needs to align with the contemporary and classic themes across multiple disciplines. I should provide clear visual cues, narratives, or context that guide viewers in perceiving the intended message. In terms of visual communication, I should recompose the shapes and colours within the blank spaces. The act of filling the emptiness can cater to viewers who seek visual stimulation or immediate engagement with the new netherworld. By offering intricate details, I hope to provide a visual roadmap of the project.

Abandoning the blank space is to recompose the space, mitigating the distance between my intentions and the viewers’ understanding, particularly for those who prefer more concrete or literal representations. Well, having said that, I still preserve a reasonable size of the empty space in the painting if you take a close look at it.

p.s.:

I do not forget that “sequential pictures” (“连环画”) that have a long history in Chinese culture provide a form of sequential art or narrative illustration with little use of blank space.

However, sequential pictures used in traditional Chinese religious and cultural paintings often depict stories from scriptures and religious or social teachings. These sequential images guide viewers through the narrative, allowing them to follow the sequence of events. Their primary aim is often to inspire devotion, illustrate moral teachings, or convey emotions, rather than focusing on transcendental representation or “naissance” perspective. They are not necessarily going to resonate with the contemporary inferno project that focuses on individualism and transcending contemporary secular knowledge with a rational, empirical understanding of the latest purgatory world.