The Flourishing of Wind and Water
date. 2020
city. New York
size.
54cm x 38.5cm
Arches Watercolor 300g/m
Acrylic
The artistic intent behind this painting is an attempt to break through the finite imaginative space set by cultural boundaries; it depicts a fantasy world in the author's mind, wherein lies the origination point of the heaven and earth duality, in which everything is animistic and full of vitality, and humans coexist with divine beings.
A rising "water road” is, in itself, formless and intangible, and yet is formed and framed by the concrete, dividing mountains, from the proximal to the distant, finally meeting with the clouds on the horizon.
The red sun, presiding over the landscape from its heavenly perch, forms an irregular and symmetrical composition, with the winding waterway framed by the rocks among the mountains; this grants the painting an atmosphere of sensuous majesty.
This feeling dexterously crosses back and forth, jumps, flows along the contours of the black and white Chinese landscape image -- look closely, and you will find a large fish issuing forth from a curtain of water, pursuing a group of smaller fish and chasing them into a worm hole; a pair of strong claws guards this building in the stony granularity of the mountain forest... tunzei, chuhui , feidu , fushi (spirits of the seven baser instincts) commingle with the creator’s interpretation of figures, such as the original illusory three finer spirits and seven baser instincts, elves, and spirits, rendered through the unique sensibility of her own visual language.
There are also flying clouds formed of the five basic elements (gold, wood, water, fire, and earth), and modern buildings mingle with ancient pavilions, echoing in the mountains. The twelve branches of Chinese cosmology correspond to twelve kinds of animals, fully embodied in their respective positions in the picture: the rooster crows on the top of the mountain, the tiger rests in the forest, the rabbit hides in the crack, the snake retreats from the light...
In this moment, the mountain god sighed, the spirit beast roared, the fish cut through the flowing water, and you find yourself immersed, already, within the image.
This feeling dexterously crosses back and forth, jumps, flows along the contours of the black and white Chinese landscape image -- look closely.
and you will find a large fish issuing forth from a curtain of water, pursuing a group of smaller fish and chasing them into a worm hole; a pair of strong claws guards this building in the stony granularity of the mountain forest... tunzei, chuhui , feidu , fushi (spirits of the seven baser instincts) commingle with the creator’s interpretation of figures.
such as the original illusory three finer spirits and seven baser instincts, elves, and spirits, rendered through the unique sensibility of her own visual language.
There are also flying clouds formed of the five basic elements (gold, wood, water, fire, and earth), and modern buildings mingle with ancient pavilions, echoing in the mountains.
The twelve branches of Chinese cosmology correspond to twelve kinds of animals, fully embodied in their respective positions in the picture: the rooster crows on the top of the mountain, the tiger rests in the forest, the rabbit hides in the crack, the snake retreats from the light...
