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The Crea(on  of    

Yuan Shu 2007-­‐2011(B)    

袁漱(袁慧莉)


太 虛 系

The Phantasmagorical world of Tai Shi Series

袁 漱   Yuan  Shu Using    mineral  pigment  ,    glue  based  gold  paint     on  sprinkle  gold  paper,    lines  and    dots  form  are   different    from  Chinese  tradi(onal  textures.  


Statement                                                                                              


Gong –  Bi  :  (Jin-­‐Bi)   Golden  and  Color  Landscapes   with  Thin  Lines  and  Dots


In Chinese   pain(ng   especially   the   landscape   in   addi(on   to   Ink-­‐brush   pain(ng   there   has   another   style   is   GongBi(工筆).  Most  of  the  landscapes  painted  during  the  Tang,  such  as  the  one  above,  were  executed  in   blue   and   green   mineral-­‐based   pigments,   which   gave   the   pain(ng   surface   a   jewel-­‐like   quality.   PuQng   golden  color  in  blue  and  green  landscape  will  be  call    JinBi  (金碧)  landscape.     Original  GoBi's  style  just  only  has  contours  and  color  without  texture  inside  the  rocks  and  peaks  .     I    added  and  changed  the  form  of    “Cunfa”(皴法)(Which  is  the  tradi(onal  pain(ng  technique  about  the   textures  of  stones  or  mountains.)  and  transformed  the  meaning  of    “Cunfa”.     In  tradi(onal  technique  and  meaning  of    “Cunfa”  is  always    come  from  natural,  but  in  my  this  series  it  is   not  only  means  nature  texture  but  also  symbolized  something  other    meaning.   So  the  texture  form  in  my  this  series  are  complicated,  it  combined  with  tradi(onal  and  new  symbolism.     Because  every  pieces  of  rocks  without  aXempted  to  appoint  out  any  real  geographic  place  .  That    makes   the   landscape   unreality.   though   the   idea   was   first   come   from   the   nature   scenery—Taihu(where   is   in   Suzhou  ).     In   this   series   works-­‐-­‐-­‐TaiShi   series,   I   am   interes(ng   about   how   to   make   lines   and   dots     composed   to   difference  cunfa  in  complex  meanings.    


In the  beginning,  It  was  purposely  to  draw  a  image  from  Tai-­‐Hu.


But gradually,  my  emo(onal    override  the  image  of  nature  and  infiltrate  into  the  landscape.  For  me,    to   express  the  inner  reality  feeling  is  the  most  important  thing  than  reappearance  natural.     So  I  named  it  “The  feminine  inner    emo(on  world  -­‐-­‐-­‐The  imaginary  world  of  Taishi”.     There  were  several  kind  of  texture  line  in  this  series,  some  were  like  spiral,  distor(on  hair,  though  some   were  come  from  the  tradi(onal  form  but  had  been  changed  drawing  way.    All  the  different  texture  was  put   in  different  rocks.  That  makes  a  landscape  became  like  dissec(on  of    spirit.  Even  all  the  rocks  combined   together    but      inner  emo(on  had  been  dissected  in  fragments  as  clumps.      


Changes tradi8onal  rule  about  Cunfa.     The   nowadays   life     like   planar   clumps   .   Not     only   in   rela(onship   of   people   but   also   in   every   daily   life   such   as  a  plane  surface  of  screen  sight.  Discrete  from  consistence  nature  world  .   In   the   other   hand,   that   also   happen   in   when   I     face   the   tradi(onal   pain(ng   aesthe(cs   is   no   longer   completely  possible  today,  and  modern  life  more  affect  our  knowledge  and  life.     Something   changing     between   people   and   nature   rela(onship     in   this   (mes   .   So   I   want   to   draw   that   I   feel   about  this.       The    textures  of  that  I  drew  are  not  only  appropriated    from  ancient  landscape  sign,  but  difference  style   from  my  crea(on  which  maybe  come  from  other  culture  symbol.  So  you  can  see  different  texture  style   combined  together  ,  that    symbolize    non-­‐iden(ty  world  in  nowadays.  

 


Combined pieces  and  make  different    clumps  of  stones  together,  looks  like  a  complete  world  but  actually  it   is  fragments    what  I  feel  in  contemporary.     That   is   symbolize   an   inner   subversion   about   an   ethical   theory   of   Chinese   tradi(onal     universe     which   considered  harmony  between  man  and  nature.  in  ancient  age,  the  world  were  unity  ,  but    I  want  to  point   that  maybe  impossible  in  contemporary.     Natural   have   been   human   destruc(on,   that   are   appearance   in   many     scenery   places,   even   in   the   small   islands  of  TaiHu  .   So  I  want  to  use  unreal  textures  and  unnatural  clumps  of  rocks  to  show    which  is  not  completely  natural  or   integrality.  


In the   other   hand,   the   lines   and   the   dots   revert   to   a   freedom   element,   so   I   can   use   those   in   free   way.   To   deconstruct  the  ancient  Cunfa  form  to  put  something  new  idea  about  texture  into  the  works.


What is  the  new  texture  in  this  series  ?  

Using some    female's  symbol    into  the  landscape.     Ex.  Spiral  and  curve  lines     The   original   symbol   of   spiral   and   curve   shapes     is   come   from   nature   like   shell   or   universe     image,   also   in   Chinese   Tai  chi(太極).       you   can   see   these   geometry   sign   in   ancient   stone   age’s   poXery,   some   scholars   tell   this   is   symbolize   to   feminine   and  some  kind  flow  power.  But  in  my  works  that  might  also   symbols  to  woman's  hair.      I  followed  my    intui(on  in  the  beginning,  used  many  small   dots  and  thin  line  to  draw  this  shape  without  pre-­‐conceive.     But   when   it   appeared   ,   the   inner   subconscious   of   me   maybe   shows   there   has   something     conform   with   ancient   feminine  symbol.    


Dots as  a  woman’s  tears   And  short    thin  lines    of  dense  sutures


It shows  a  surreal  world,  not  real  place,  some  kind  like  dreams  ,  crushing  clumps,  unreasonable  world.       But  maybe  this  unnatural  world  is  more  come  nearby  our  contemporary  life  reality.   This  is  contemporary  landscape  but  not  Chinese  ancient  tradi(onal  landscape.  


Plates                                                                                                              


The  Tai-­‐Shi  Series  :  Zengzer    Tai  Shi,  Installed  in       Na(onal  Taiwan  Museum’s  lobby  


2009新象—兩岸當代水墨展場作品現場佈置狀態 國立台灣美術館 The Tai-Shi Series : Zengzer Tai Shi, Installed in National Taiwan Museum’s lobby 


金庭太虛圖卷 50x720cm 灑金淨皮宣、泥金、礦物顏料 2007-2010 The phantasmagorical world of Jingting (scroll)


震澤太虛圖卷 1135x50cm 灑金淨皮宣、泥金、礦物顏料 The phantasmagorical world of ZengZer (scroll)

2007


具區太虛圖卷 The  phantasmagorical    world  of  Juihchiu  (scroll)  

910x50cm

灑金淨皮宣、泥金、礦物顏料 2008


青綠太虛 720x70cm 淨皮宣、礦物顏料   The  phantasmagorical    world  of  Chinliuh  (scroll)   Collected  by  Na(onal  Taiwan  Museum  

2007


太虛系列-­‐01 The  phantasmagorical    world  of  TaiShi  01

50x228cm

灑金淨皮宣、泥金、礦物顏料 2007


太虛系列-­‐02 50x228cm 灑金淨皮宣、泥金、礦物顏料 The  phantasmagorical    world  of  TaiShi  02

2007


太虛系列-­‐03 The  phantasmagorical    world  of  TaiShi    03  

50x228cm

灑金淨皮宣、泥金、礦物顏料

2007


太虛系列-­‐04 The  phantasmagorical    world  of  TaiShi    04  

228x50cm 灑金淨皮宣、泥金、礦物顏料

2008


太虛系列-­‐05 50x228cm The  phantasmagorical    world  of  TaiShi    05  

灑金淨皮宣、泥金、礦物顏料 2008


太虛系列-­‐06 228x50cm The  phantasmagorical    world  of  TaiShi    06  

灑金淨皮宣、泥金、礦物顏料 2008  


太虛系列-­‐07 50x228cm The  phantasmagorical    world  of  TaiShi  07

灑金淨皮宣、泥金、礦物顏料 2008


太虛系列-­‐08 The  phantasmagorical    world  of  TaiShi    08  

50x228cm

灑金淨皮宣、泥金、礦物顏料 2008  


太虛系列-­‐09 50x228cm The  phantasmagorical    world  of  TaiShi  09

灑金淨皮宣、泥金、礦物顏料

2008


太虛系列-­‐10 The  phantasmagorical    world  of  TaiShi    10  

50x228cm 灑金淨皮宣、泥金、礦物顏料 Collected  by  Kaohsiung  Museum  of  Fine  Art  

2008


太虛系列-­‐14 The  phantasmagorical    world  of  TaiShi  14

50x228cm

灑金淨皮宣、泥金、礦物顏料 2008


太虛系列-­‐16 50x228cm The  phantasmagorical    world  of  TaiShi    16

灑金淨皮宣、泥金、礦物顏料 2009 Collected  by  Kaohsiung  Museum  of  Fine  Art    


太虛系列-­‐17 The  phantasmagorical    world  of  TaiShi    17

50x228cm

灑金淨皮宣、泥金、礦物顏料    

2009


太虛系列-­‐18 The  phantasmagorical    world  of  TaiShi    18  

50x228cm

灑金淨皮宣、泥金、礦物顏料

2009


太虛系列-­‐24 The  phantasmagorical    world  of  TaiShi  24 66x66cm 灑金淨皮宣   泥金、礦物顏料   2009


太虛系列-­‐26 The  phantasmagorical    world  of  TaiShi  26 185x174cm 灑金淨皮宣   泥金、礦物顏料   2011


太虛系列-­‐27 The  phantasmagorical    world  of  TaiShi    27  

50x228cm

灑金淨皮宣、泥金、礦物顏料

2009


太虛系列-­‐28 The  phantasmagorical    world  of  TaiShi    28  

50x228cm

灑金淨皮宣、泥金、礦物顏料

2009


太虛系列-­‐29 The  phantasmagorical    world  of  TaiShi  29 93x174cm 灑金淨皮宣   泥金、礦物顏料   2011


太虛系列-­‐30 The  phantasmagorical    world  of  TaiShi  30 93x174cm 灑金淨皮宣   泥金、礦物顏料   2011


2006-2011(B)yuan shu,artworks  

Using mineral pigment , glue based gold paint on sprinkle gold paper, lines and dots form are different from Chinese traditional textu...

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