Q1. Why did you choose Shanhai Jing to start this series of artwork?
The “Classic of Mountains and Seas” (Shanhai Jing) is an ancient text that integrates mythology, geography, and folklore. Its content not only includes rich mythological legends but also depicts the imagination and understanding of the natural world by the Chinese ancient people.
The ‘mountains’ and ‘seas’ described in the book are not merely geographical concepts but also symbols of the ancient people’s exploration and imagination of the unknown world.
This mystical and artistic expression of nature provides an endless source of inspiration for landscape painting, allowing one to freely fantasize about a ‘world of mountains and seas’ that belongs entirely to oneself.
Referring to the “Classic of Mountains and Seas” as a theme for landscape painting is not only a tribute to traditional culture but also a profound reflection on nature and the universe. Through the medium of ink and brush, artists can reconstruct the mythological creatures and fantastical landscapes described in the text, imbuing them with new life and meaning. This creative process is not just a reproduction of ancient culture but also an exploration and expression of the artist’s inner world. When depicting these fantastical scenes, the artist is essentially engaging in a cross-temporal dialogue with ancient ancestors, traversing past and present through the brush, journeying through the cosmos, and contemplating the meaning of life and the direction of the future.
Moreover, mythological stories from the “Classic of Mountains and Seas”, such as ‘Kuafu Chasing the Sun’ and ‘Jingwei Filling the Sea,’ contain profound philosophical insights and spiritual power. Recreating these stories through the form of landscape painting not only stimulates the viewer’s imagination but also provokes deep reflection on life, nature, and the universe. Therefore, referring to the “Classic of Mountains and Seas” as a theme for landscape painting is not only a continuation and innovation of traditional culture, but also an artistic and philosophical expression of nature and human existence.
Q2. As a contemporary artist, what is the role of tradition to you, and how you make ink painting actual and contemporary in your works?
I have a deep passion for reading literature and poetry, and over the years, I have consistently infused traditional cultural concepts into my landscape paintings, gradually developing a personal style and artistic language. The idea of make reference to the “Classic of Mountains and Seas” is not a new concept — many artists have done it, each with their own unique approach. To me, it was a sudden burst of inspiration a few years ago and even before starting to paint, I had already written over ten thousand words and sketched numerous drafts to set a direction for my free-spirited and imaginative creative process.
When GuWei Museum invited me to collaborate with no creative restrictions, I decided to use the opportunity to reinterpret the ancient cosmological views of ‘mountains’ and ‘seas’ with a completely new imagination.
" While modern people often perceive the “Classic of Mountains and Seas” as dark, mysterious, eerie, or even terrifying, my works present a fresh perspective with serene blue-green landscapes, tranquil retreats, and sci-fi-inspired fantasies. Each piece hides mythical creatures, symbolizing nature's inherent right to exist, its value, and its living space, while subtly conveying an environmental message. "
In the series, I did not aim to present a profound literary topic or create ink-wash works of academic research value, nor did I intend to critically analyse the cultural significance of the paintings. My goal was simply to allow the audience to feel joy when seeing the vibrant imagery and colours.
Besides, when you read ancient texts, you also gain insight into many legends and myths of the ancient Chinese culture, such as ‘Kuafu Chasing the Sun,’ ‘Jingwei Filling the Sea,’ ‘Yi Shooting Down the Nine Suns,’ ‘Gun and Yu Taming the Flood,’ ‘Nü Chou Praying for Rain,’ and ‘The Giant Snake Devouring an Elephant.’ These stories are nowadays worth revisiting for the intellectual heritage they carry.
As readers of the “Classic of Mountains and Seas” know, the book covers a wide range of subjects, including geography, rivers, plants, herbs, birds, and beasts, as well as familiar ancient historical figures like Shennong, Fuxi, Nüwa, and Chiyou. Each of my works includes captions in both Chinese and English for basic explanation, with some excerpts from the original text, allowing viewers to extend their own thoughts and reflections.
Q3. Can you describe briefly your applied ink painting techniques?
" I employed a method using 'dots, lines, and planes' as texture strokes, creating black-and-white landscapes with hints of pale blue. I also reimagined a series of meticulous brushwork landscapes inspired by ancient paintings from the Song and Yuan dynasties, and used splashed-ink techniques to evoke a futuristic sci-fi aesthetic. "
These three approaches intertwine ancient, near-ancient, and modern timelines, all driven purely by my passion for ink-wash painting and artistic exploration. I hope the audience can appreciate my design concepts and visual aesthetics, and resonate with the works.
