Shining Postures in the Mountains

        As Wang Yuanqi from Qing Dynasty said well in "Painting beside Rain Window", "Momentum of contour would need to be taken care of when painting.... if the opening and closing are smooth as well as the contour and momentum are well matched, the pulses will falter and the natural scenery will emerge." The idea of this series is to sketch the landscape from the big and the empty place. It takes a wide and varied perspective to make the picture producing different visual tension. In this series of works, mountains and rivers are no longer adhering to the shape and quality. Instead, I pay more attention to the cultural metaphor of mountains and focus more on their images as "visual symbols".

        "The beauty of mountains and rivers has been discussed and appreciated since ancient times." A Mountain is a very common and long-standing discourse image with profound and extensive connotation in Chinese Classical Poetry. Or it can be said to be a cultural symbol. Confucius said, "Wise people like water while benevolent people like mountains. The wise move while the virtuous are quiet". The viewers all feel moved by the tranquility, the grandeur, and the deepness of the mountain. Since the "Book of Songs" and the "Songs of Chu", there have been famous poems about mountains in classical poetry. After the school of landscape poetry created by Xie Lingyun, it was even more countless to regard mountains as images or dedicated works of chanting mountains. In poetry of Tang and later dynasties, the mountain has become an indispensable basic image element.

        It is an attempt and even an exploration to use watercolor texture based on traditional themes to try to express Chinese charm. This series integrates the traditional Chinese painting language and pursues "the beauty of artistic conception". It not only adopts the realistic technique of Western painting, but also has the Oriental ink lyrical language. Facing the same theme of the lotus, different people would create different works based on their subjective consciousnesses. These kinds of differences depend on their own painting languages, which are the presentation of the painters' own conceptions and also their true emotional portrayals. The beauty of flowers and leaves as well as the brilliance of mountains present a splendid and glorious atmosphere by setting off each other. To me, at least an insight from the side aspect of the nature has been realized in this series. Although the mountain is quiet, it is loaded with strong energy. Although the lotus is fluttering, the color of its shade is infectious. These works are showing my subtle hesitation and prudence as well as my eager attempt to understand all kinds of new knowledge. All of these are the traces left by a sincere and keen mind, and what permeates in it is still my eternal pleasant feeling in the "color game"