Date:December 18, 2007 - March 16, 2007

Artistic ornamental color painting on architectural structures shows the unique spirit and concept of China's classical building - an architectural culture of ornamental art. China's classical architecture can be traced back to 3000 years ago. This art form first appeared on buildings during the Spring and Autumn Period (770-220 BC), and was a status symbol for the occupants of these buildings.

The architectural ornamental art has progressed along with the development of Chinese classical architecture through the application of colors, subject matter and technique. The subjects used in this art form varied from clouds, plants, animals, and spiritual deities in the Han Dynasty to lotus flowers in Six Dynasties Period. In Tang Dynasty, geometric figures and plants were more often applied. Qing Dynasty saw the peak of architecture in Chinese history. Its development combined Xuanzi painting and created palace style, Hexi style, Yuanlin Shu style among many others.

The architectural ornamental art is rich with colors and contents. It displays the beauty of Chinese folk art and high traditional culture as these have continuously influenced each other. Embedded in this ornament we can become aw are of a collage of the many dimensions, directions, and overlapping layers that intersect. These integrate structural form and substance by combining with non structural elements of color, symbols, rebus art and pictorial imagery. As the cream of Chinese wisdom for the past thousands of years, architectural ornamental art contains the complexity of Chinese culture and architecture. This exhibition offers the opportunity for people to view and understand this art form.

Related to the architectural ornamental art is the siheyuan (quadrangle), the main architectural form of dwelling houses since 16th Century BC. In recent years the siheyuan is reviving in Beijing. As an important integral part of Chinese traditional architecture, the Beijing quadrangle is attracting more and more attention from all sectors of society. Siheyuan, meaning "four harmony unit" consists of four buildings enclosing an internal courtyard that is occupied by single family units. The structure reflects the evolution of Chinese aesthetics, functionality, feng shui. It also demonstrates the importance of nature, open space, privacy, and comfort in residential living.

The underlying value of architectural ornamental art is similar to that of the siheyuan. Multi-facet symbolism in design and motifs point to a way of life at peace with nature and natural processes.

Insights can be gleaned about this art by viewing it in the light of an earlier art that took shape during the formative stages of Chinese civilization - the art of Chinese Bronze Vessels. What would these vessels be without the magnificence of their ornaments? Thus a sense of this art in relation to its arc hitectural component can be glimpsed.

The artist, Ms. Chen Xiaorui is a partner and Senior Designer of the China Architect Engineering and Consulting Company based in Beijing.

She has served as a designer and engineer for the Jiangsu Traditional Garden Construction Company, the Three Gorges Construction Development Company, China North Furnishing Company, and is a member of the China Arts Association.

She has participated in the research on Chinese classical construction and ancient ornamentation, and her projects included the Laiyang Temple in Hunan province, the Longkou Buddhist Temple, the reconstruction of Wangjn community in Beijing. Recently, she just completed the design of the Buddhist Temple complex at Huairou in Beijing.

All the ornaments in this exhibition were painted by Ms. Chen Xiao rui. No printing techniques are used. Her art encompasses these miniature paintings, as well as the actual fullscale buildings and entrance ways she constructs. These miniatures have not been done before and were exclusively painted by her for exhibition at AAAC gallery in New York. They should not be considered similar to artists proofs before an edition of original prints are produced. These are complete works made for viewing in and of themselves. As every traditional artist knows, invention and creativity are not restricted to a modern monopoly or to the "Art of the New", and are naturally a part of a traditions practice. Some of the art works here exemplify the creation and invention of Chen Xiao rui and can be found no where else, arising from her thorough immersion in the tradition.

If we look at the photographs of her work on the streets of present day Beijing and see the sense of freshness emanating midst the clutter of a restaurant's facade, we are witness to the rebirth of a traditional art. All the more remarkable for its capacity to thrive and integrate itself in a modern society - its artistic, economic, social, and political aspects; all are integrated here, thus making a place for tradition in our post modern world.