Of Woods

树林

Dual Exhibition by Pang Yun and Li Yuming庞云、李毓明双个展

AndWonderlands

与仙境

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I See My Soul Reflected in Nature: Contemporary Chinese Depictions of Nature and Landscapeby Pang Yun and Li Yuming

Bonny Yau

“In all things of nature there is something of the marvelous.” - Aristotle What is it about endless forests, vast expanses, and the combination of sky, mountains, and rivers that inspires such awe? Nature, by most definitions, is that which was not created by man. It too can refer to the innate characteristic of a thing, encompassing not only an environment of plants and animals, but mankind’s internal reflections as well. Across cultures and generations, the natural world and its varying landscapes has served as inspiration for the minds of men, standing as a foil to mankind with its innate order and raw power, and in it, man sees a reflection of himself.

Art+ Shanghai Gallery’s Of Woods and Wonderlands: Dual Exhibition by Pang Yun and Li Yuming brings together two Chinese Chongqing-based artists who offer contemporary takes on landscape painting. Works by Pang Yun and Li Yuming, in oils on canvas and mixtures of oil and acrylic on

canvas, respectively, present scenes of woods and wonderlands that are at once depictions of natural objects and scenes that speak to the intrinsic and metaphorical nature of the contemporary spirit and their own personal yearnings for ‘nature’. The landscape tradition evolved out of an attempt to capture the majesty and emotion of nature, with roots in both Western Romanticism and Eastern shan-shui painting. Of Woods and Wonderlands continues this tradition.

Exploring this convergence of art, nature, reflection, and the contemporary, Of Woods and Wonderlands presents recent works of painting by Chongqing-born and -based artists Pang Yun and Li Yuming. Repetitive branches reach to the sky, mountains swirl across dark backdrops, and landforms are viewed as exist in no photograph. Pang and Li’s idealized portrayals

present nature’s honest allure and a reflection of our cultural expectations through imagination rather than direct representation. The largess and limitless horizon of nature is reflected in the attitude of the works, using a combination of the Romantic sublime and Chinese traditional order and fluidity. With a dash of introspective fantasy and the artists’ individual expressions, Of Woods and Wonderlands presents landscapes that depict not the surrounding world of reality, but our own desires for nature.

In Our Cultural Expectations of Landscape

“You ask for what reason I stay on the green mountain,

I smile, but do not answer, my heart is at leisure.

Peach blossoms are carried far off by flowing water,

Apart, I have heaven and earth in the human world.”

- Li Bai, Question and Answer on the Mountain

From our earliest stories, nature has been the setting for growth and change – in art, life, and literature. From Christianity’s Garden of Eden to Dante’s dark wood, there is often a sense of introspection and untouched honesty at the convergence of woods and wonderlands. In fairytales and Shakespeare’s A Midsummer Night’s Dream, the forest is an enchanted space where normal rules are set aside and meaning can be found in every little detail. Of Woods and Wonderlands can be seen as an amalgamation of these systems of thought, referencing nature’s deep symbolism in religion, mythology, and history.

While the heightened fantasy of nature may seem like a Western conceit, Eastern culture is also enthralled with nature, though in a generally more symbiotic manner. In Tang Dynasty poetry, works by Li Bai and Du Fu use mountains, rivers, and journeys as metaphors

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for personal emotions and social relationships, just as feng shui achieves harmony between man’s built world and the environment and literati shan-shui painting rendered landscapes in bold brushstrokes that related to the artist’s impressions rather than strict view. By building on elements from both Western and Eastern cultural traditions, the ‘landscape’ works by Pang Yun and Li Yuming offer works that are at once both and neither, befitting the status of contemporary China.

In Realities of a Contemporary China

“To her fair works did Nature link

The human soul that through me ran;

And much it griev’d my heart to think

What man has made of man.”

- William Wordsworth, Lines Written in Early Spring

Rapid urbanization has turned China into a nation of skyscrapers and expressways, with a mostly urban population that has doubled in the last few decades. As a result of this rapid discarding of traditional rural forms and loss of direct relationships to nature, we increasingly look to nature as a constant strength to be conquered as well as a luxury to be cherished, enjoyed, and protected. As civilization becomes more divided from nature, nature is being redefined to reflect the shifting position of Chinese society and thus gains new meaning in the contemporary world. In this time of shifting perspectives and growing urbanity, the tranquil works exhibited in Of Woods and Wonderlands may seem like throwbacks to a time long past, which gives them even more relevance as reminders of the ideal, and at the same time, as contemporary interpretations, call forth a willful denial of present realities.

Pang Yun and Li Yuming were both born in Chongqing, in 1975 and 1984, respectively. Both studied at the Sichuan Fine Arts Institute, also in Chongqing, and are currently based in Chongqing. Needless to say, Chongqing, with its status of one of China’s four municipalities, over 28 million in population, and dynasties of history, has shaped their perspectives. Surrounded by mountains, forests, and valleys, rich in resources and scenery, Chongqing succeeded as a city of trade due to its placement by the Yangtze and Jialing Rivers. As the city’s nature has evolved into a bustling metropolis of growth and construction, its conflict with nature and its own history grows. Nature as it exists in traditions and literature stands at the foundation of Chinese culture, yet in opposition to contemporary everyday society. This tension is expressed in Pang Yun and Li Yuming’s reflections of nature’s new status,

which has transitioned from a standard way of life into a sublime ‘other’, expressing an ideal linkage with nature.

In Pang Yun’s Defiant Woods

“Two roads diverged in a wood, and I –

I took the one less traveled by,

And that has made all the difference.”

- Robert Frost, The Road Not Taken

The darkness, layering, and endlessness of natural woods, with twisted branches and a quiet air, fueled the imaginations of the Romantics. Pang Yun’s fascination with trees is based on her appreciation for this complexity as well as the natural order and presence of trees, which she finds mankind’s nature reflected in. In Pang’s works of oil on canvas, softly curving branches emerge from

tall trunks to branch, overlap, and explore the space of the canvas. Her creative process is akin to Taoist meditation, with an abundance of repetitive yet expressive strokes in detailed brushwork that lends itself to an atmosphere of tranquility and contemplation. Her Portrait of Trees series is not of the wild debris of fallen, tangled, or knotted trees, but optimistic, ambitious, and stable forms that are symbolic of human will and human potential.

Pang Yun’s upward-reaching branches stand still and transcendent against the surrounding elements. With deep roots grounding them in the earth, trunks that connect to the sky, and branches that create a dense, layered pattern like a maze of potential pathways, Pang’s woods are unrelenting in the face of gravity and entropic disorder. Though nature and landscape often gives the impression

of the wild untamable, Pang Yun’s paintings explore the order and structure extant at the basis of nature’s forms. To hear her tell it, her depiction of woods is not honesty of view, but honesty of Chinese philosophical idea, expressing man’s complex yet rationally defiant nature.

In Li Yuming’s Mindful Wonderlands

“What shall I say of the Great Peak? –

The ancient dukedoms are everywhere green,

Inspired and stirred by the breath of creation […]

When shall I reach the top and hold

All mountains in a single glance?”

- Du Fu, A View of Taishan

Beyond merely being lands of fantasy and magic such as those created by Carroll, Baum, Barrie, and Tolkien, wonderlands

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are simply landscapes of wonder – whether based in fantasy or nature’s inherent wonder. Li Yuming’s stylized oil and acrylic on canvas paintings of clouds, mountains, and rivers, with small elements of trees and even built structures, are reminiscent of classical mountain-and-water paintings from the Song and Yuan dynasties. With bird’s eye views, fantastical land forms, and meandering paths, traditional imagery is borrowed in a bold contemporary style. Pastel hues on black backgrounds reverse the traditional color scheme of shan-shui painting’s black ink on white xuanzhi rice paper to create penetrating in the compositions. Though expressive of the breadth and expanse of natural landscape, the imaginative manner of Li’s paintings can be read more as a continuation and re-envisioning of the landscape tradition than of landscape itself.

Li’s works, with its foundations in literati painting, are suggestive of a scale that encompasses not only distance, but time and history as well. Indicating man’s small place in this vast midst, cursive lines that represent no true mountain and fine strokes of delineated waves offer a romanticism of individuality and perspective. His surreal aesthetic forms can be read in the manner of literati shan-shui poetry, which was closely linked with shan-shui painting; “I climb up high and look on the four seas, / Heaven and earth spreading out so far” (Li Bai, Ancient Air). Li Yuming’s portraits of these wonderlands – of land, sky, and water – seem so far from our present urban conditions that they might as well be purely imaginative figments. Yet in them he preserves a sense of China’s past and traditions, and champions the promise and longing for a contemporary joining of water and mountain, Heaven and Earth.

In Remembrance of the Ideal

“There is a pleasure in the pathless woods,

There is a rapture on the lonely shore,

There is society, where none intrudes,

By the deep sea, and music in its roar:

I love not man the less, but Nature more ...”

- Lord Byron, Childe Harold’s Pilgrimage

What Pang Yun and Li Yuming achieve in Of Woods and Wonderlands goes beyond the mere depiction of the titular subjects. There is an element of the fairytale, but instead of being grounded in fantasy, the works are based in a humanist philosophy wherein the ‘other’ of their landscapes honestly reflects mankind’s inner nature and relationship to exterior nature. As artists from the sprawling metropolis of Chongqing, Pang Yun and Li Yuming build upon the landscape traditions of Western and Chinese art history to heighten

our perceptions of nature that extend beyond simple homage to the natural environment. Their compositions contain a sense of holism and philosophical completeness to reflect the conflict between our longing for nature and purposeful divorcement from it. By placing scenes of such pure environments in the context of a contemporary, urbanized China, Of Woods and Wonderlands begs the question: What is nature to us now?

With restrained precision and an adherence to order from Pang Yun, and an almost fervent romanticism of Chinese tradition and contemporary emotion from Li Yuming, Of Woods and Wonderlands bridges the majesty of nature with its unknown potential. The landscapes of both artists express monumentality and steadfast resolve with serene wonderment, with no pretense of being realistic portrayals. In presenting their

idealized landscapes, they aim to capture the allure and spirit of nature, the honesty of internal expectations, that is based not upon the realism of trees and mountains, but rather on the traditions that have been long established in Western and Eastern cultures. Of Woods and Wonderlands reflects mankind’s soul in nature, a subject that is as ancient as it is contemporary, at once social and personal, real and imaginative, social and personal. Nature is an ideal that is both man’s greatest foil and closest confidante.

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于自然中窥视灵魂：庞云与李毓明的中国当代自然风景

姚蓓玫

“万物自然，均有绝妙之处。”—亚里士多德 那无边无际的森林、广袤无垠的苍穹、以及融为一体

的天空、山丘与河流为何能激起我们的敬畏之心？纵

观各种定义，自然的杰作与人类的创造遥相呼应。此

外自然也可指某物的内生特点，不仅包括动植物环

境，也包括人类的内省。在各种文化以及各个世代，

自然世界及其千变万化的风景都曾激发了人类思想的

灵感，并以其内生的秩序和原始的力量守护着人类。

而人类也从自然中窥视到了自身。

本次在艺术+上海画廊举办的双个展“树林与仙境”

展示了两位重庆籍艺术家庞云和李毓明用当代艺术视

角描绘的风景画。庞云和李毓明的创作分别采用了布

面油画以及布面丙烯与油画的方式，描绘的树林与仙

境已经超越了自然实物和景观，体现了当代精神的本

质——内生和隐喻，也突出了艺术家自身对“自然”

的向往。风景画植根于西方浪漫主义画派与中国传

统山水画派，起源于人们想要捕捉自然的雄伟，抒发

对自然的热爱。“树林与仙境”与该传统一脉相承。

“树林与仙境”汇集了庞云和李毓明这两位土生土长

重庆籍艺术家的近期画作，探索如何将艺术、自然、

思考与现代艺术融为一体。茂盛的树枝伸向天空，灰

暗的背景下群山连绵起伏，所有的画作中的地形都若

隐若现。画作呈现了大自然真实的魅力，并通过想象

而非直描展现了人们心中的文化期望。画作通过结合

浪漫主义的壮丽和传统中国画的秩序与流线，完美呈

现了大自然的慷慨赠与和一望无际。“树林与仙境”

中的风景既带有一丝内省的想象，又兼具艺术家们的

个人情感表达，所描绘的不仅是周围的现实世界，更

是人们对自然的内在渴求。

对风景的文化期望

“问余何意栖碧山，笑而不答心自闲。桃花流水窅然去，别有天地非人间。”- 李白《山中问答》

无论在艺术、生活还是文学中，一直以来，自然意

味着生长和改变。从基督教的伊甸园到但丁的黑暗

森林，在树林与仙境的融合中总有一种内省和原始

的诚实。在童话和莎士比亚的《仲夏夜之梦》中，

森林是一个无比奇妙的地方，在森林里常规被束之

高阁，意义存在于每个细节中。“树林与仙境”可

以看作是所有这些思维体系的综合，揭示了自然在

宗教、神话和历史中的深层象征主义。

尽管对自然的崇高想象看来似乎是一种西方式的幻

想，但其实东方文化对自然也一样痴迷，只不过通

常以一种更加共生的方式表达出来。唐代诗歌中，

李白和杜甫的诗常用山、河、旅程等做比喻来表达

个人情感和社会关系，就像风水也是在寻求个人世

界和周围环境的和谐，又或是山水画中以浓墨重笔

而非直接观感来表达画家的感想。在东西方文化传

统要素共同使用的基础上，庞云和李毓明的风景创

作与当代中国的现状可谓既相符又冲突。

当代中国的现实

“大自然将我体内流淌的灵魂和她的精妙杰作熔为一体我乐极生悲，随即想问

人为何改变了自己。”-威廉·华兹华斯《早春抒怀》

快速的城镇化给中国带来了座座拔地而起的摩天大楼

和纵横密布的高速公里，在过去短短几十年中，中国

的城市人口翻了一倍。随之而来的是对传统农村生活

方式的摒弃和与自然直接接触的丧失。因此，我们日

益发现自然是不断赐予我们力量去征服的源泉，也是

我们必须去珍惜、享受和保护的奢侈品。由于文明和

自然的分化愈发明显，自然也正接受重新定义，成为

中国社会转型的反映，也因此在当代世界获得了新的

意义。在这个社会转型、城市化飞速发展的时期，“

树林与仙境”中平静的作品呈现的似乎是时光的倒

退，提醒人们勿忘初心，也用现代艺术的方式呼吁人

们不要屈服于当下的社会现实。

庞云和李毓明分别于1975年和1984年生于重庆。

两人都毕业于位于重庆的四川美术学院，目前工作

地点也在重庆。重庆是中国四大直辖市之一，拥有

2800万人口，也是多朝故都。毋庸置疑，重庆塑造

了他们作画的视角。重庆四周被山川、森林和峡谷

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环绕，自然资源丰富，景色优美，长江和嘉陵江汇

集地的地理优势让贸易飞速发展。重庆的自然也已

经演变为大都市的扩张和建设，这种城市化的发展

与自然、与其自身的历史都产生了冲突。传统和文

学作品中的自然是中华文化的基石，但却与现代社

会格格不入。这种冲突体现在庞云和李毓明对于自

然新处境的反思中，自然已经从生活的一部分变成

了崇高的“他物”，而他们的作品也表露出了对自

然的向往。

庞云的叛逆树林

“一片树林里分出两条路—而我选择了人迹更少的一条，从此决定了我一生的道路。”-罗伯特·弗罗斯特《未选择的路》

黑暗的、分层的、无尽的树林、弯曲的树枝以及宁

静的氛围都加深了浪漫主义的想象。庞云对树木的

迷恋是基于她对于错综复杂的赞赏以及树的自然秩

序和呈现方式，她发现从中还可窥视到人的本质。

在庞云的画布油画中，微微弯曲的枝条从高高的树

干上出现，盘根错节，相互交叠，充分利用画布上

的每一处空间。她的创作过程近似于道家的冥想，

画中有许多看似重复但充满表现力的笔触，引人走

入一个宁静和自我沉淀的环境。她的“树的画像”

系列并不是描写树的枯萎、混乱、盘根错节，而是

乐观向上、雄心勃勃、坚定不移，同时也象征着人

类的意志和潜能。

庞云画中向上的枝条就那样静静地伫立着，在周遭

元素的衬托下卓越超然。树根深深扎在土中，树干

高耸入天，树枝营造出一种繁密、层次分明的迷宫

之感，庞云的树林在地球重力面前，在混乱无序之

下依然不屈不挠，毫无畏惧。虽然自然和风景常常

给人以难以控制的荒野之感，但庞云的画作在大自

然各种形式的基础之上探索了它的秩序和结构。在

她的描绘中，她笔下的树林不仅忠于实景，也忠于

中国的传统哲学理念，表达了人性的复杂同时理性

对抗自然的本性。

李毓明心中的仙境

“岱宗夫如何？齐鲁青未了。造化钟神秀，阴阳割昏晓。荡胸生层云，决眦入归鸟。会当凌绝顶，一览众山小。”-杜甫《望岳》

与卡罗尔 (Carroll)，鲍姆 (Baum)，巴里 (Barrie)

以及托尔金 (Tolkien)等人所创设的幻想和魔法之地

不一样，李毓明的仙境仅仅是充满奇迹的风景，无

论是基于想象还是大自然内生的奇迹。李毓明的风

格独特的布面丙烯与油画描绘的是云彩、山峦和河

流，也有微小的树木草元素甚至是建筑，这种风格

让人联想到宋元时期典型的山水画作。透过俯瞰，

加上优美的地形和蜿蜒的小道，传统的意象大胆的

嫁接到了现代风格上。黑色背景与浅色的搭配一反

传统山水画中黑墨加白色宣纸的固定做法，给予作

品更强的渗透力。尽管李毓明的作品表现了自然风

景的深度和广度，这种想象的作画方式可以解读为

传统风景画的延续和重现，而不是简单的继承。

李毓明的作品植根于中国的文人画，画作体现了距

离、时间和历史。弯曲的线条下是若隐若现的山，

苍劲的笔头下是涟漪阵阵的波浪，这暗示了人类在

这苍茫之下的渺小，也呈现了画家个性和独特视角

的浪漫主义之美。他的超现实之美可以通过文人山

水 诗 歌 表 现 出 来 ， 这 种 诗 歌 和 山 水 画 是 紧 密 联 系

的，例如李白的“登高望四海，天地何漫漫。”李

毓明对于天、地和水这些仙境的描绘似乎是从我们

目前的城市现状中升华而来，或许也是凭空想象的

事物。然而，在这些描绘仙境的画作中，李毓明守

护了承诺保存了中国的过去和传统，并且渴望以一

种现代的艺术形式将山与水、天和地相融合。

纪念理想

“无径之林，常有情趣，　　　　　无人之岸，几多惊喜，　　　　　无人驻足，是为桃源，　　　　　岸畔崖间，鼓涛为乐；　　　　　吾爱世人，自然甚之...”-拜伦《哈罗德朝圣记》

庞云和李毓明在“树林与仙境”中所致力于表现的

已经不仅仅是对徒有虚名的主体的描绘。他们的画

中有一种童话的元素，但却没有植根于幻想之中，

而是建立在人文主义哲学之上，他们的风景中的“

他物”真实地反映了人类的内在本质和与外界自然

的关系。作为来自迅速扩张的大都市—重庆的艺术

家，庞云和李毓明以西方和中国艺术史的风景画传

统为基础，深化了我们对自然的认知，并没有单单

停留于简单地对自然环境的尊敬。这种融合包含了

一种整体感和哲学上的完备性，反映了我们渴望自

然却又故意疏离自然的冲突。将如此纯真的环境放

入现代的、城镇化的中国这个大框架之中，“树林

与仙境”引发了这样的思考：现在，对我们来说自

然究竟是什么？

庞 云 的 作 品 力 求 精 准 ， 遵 循 秩 序 ， 李 毓 明 的 作 品

则 散 发 出 浓 郁 的 中 国 传 统 浪 漫 主 义 色 彩 和 现 代 情

感，“树林和仙境”在自然的雄伟和它未知的潜能

之间架起了一座桥梁。两位艺术家画中的风景都表

现出宏伟以及对宁静奇境的坚持，没有虚情假意地

将自己的画作称为真正的写实。在呈现他们的理想

风景的过程中，他们试图抓住自然的魅力和灵魂，

内心期望的真诚，这一切其实并不是建立在真真切

切的树与山之上，而是建立在东西方文化中早已确

立的传统之上。“树林与仙境”反映了自然中的人

类灵魂，这是一个既古老又现实的存在，既是社会

的，也是个人的，既是真实的，又是想象的。自然

是一个理想，既是人类的盔甲，又是人类的软肋。

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“Without a doubt, I absolutely love nature. I sometimes fantasize about what it would be like to be a farmer, and how refreshing it would be to live in such a pure environment! I hope I will come to have more contact with the nature, because for people these days, especially those trapped in urbanity, to experience nature is a precious luxury.”

“毋容置疑，我超级喜欢自然,我常常幻想我是一个农民生活在纯粹的自然环境中会是多么的爽快！我期望更多的接触、融入自然，对于当代的人，特别是城市人这是件奢侈的事情。”

Li Yuming李毓明

Li Yuming李毓明

Clouds Scroll 云轴卷 Oil and acrylic on canvas 布面油画、丙烯 50 x 200 cm 2014

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Mountains Beyond Mountains- A Crossing Boat 山外山--横舟 Oil and acrylic on canvas 布面油画、丙烯60 cm diameter 直径2014

Mountains Beyond Mountains - A View of Floating Mountains 山外山--浮山观Oil and acrylic on canvas 布面油画、丙烯80 cm diameter 直径2014

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“My works borrow from classic Chinese landscape imagery, using semitranslucent techniques to express and represent the status of traditional culture that exists in the contemporary: fragmented and fading! I hope that viewers look upon my works and reflect upon Chinese traditional culture and its state of being in the contemporary.”

“作品挪用中国传统经典山水图像，用半透明状的表现技法，表现传统山水在当代语境中的生存状态：碎片化、消失状！期望通过作品使观者得以关注中国传统文化及其当代存在状态。”

Li Yuming李毓明

Fragmented Shan-Shui 碎山水Oil and acrylic on canvas 布面油画、丙烯150 x 150 cm2015

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Ferrying in Fairyland 云山舟渡Oil and acrylic on canvas 布面油画、丙烯120 x 120 cm2014

Mountains Beyond Mountains - Amidst Winding Paths 山外山——峰回路转Oil and acrylic on canvas 布面油画、丙烯 90 x 90 cm2015

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Mountains Beyond Mountains- A Flat Wide View 山外山--平览广Oil and acrylic on canvas 布面油画、丙烯 80 cm diameter 直径 2014

“Confucius once said: ‘At 15 my heart was set on learning; at 30 I stood firm; at 40 I had no more doubts.’ Now I am 30 years old, and although I have not been completely firm, my perspective and outlook on things have become ever more peaceful and clear, and you can see this in my series of works. The personality of my works are clear, concise, and Eastern. I like to dig into the natural, original properties of things and refine them, which is somewhat similar to finding the zen balance in Japanese design.”

“三十而立，虽然没有立得起来，但是心态愈加趋于平和，认识、对待事物的态度也更加明确，这一批作品是与之吻合的。作品的个性，我希望它是单纯的，凝练的东方式的，我喜欢挖掘事物的本质和原本属性，并得以提炼，有点类似日本设计所追求的那种禅意的平衡。这些作品是一个开端，我将建立一个开放性的主题和多维的视觉呈现。”

Li Yuming李毓明

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Mountains Beyond Mountains- Reading the River’s Flow 山外山——阅江图 Oil and acrylic on canvas 布面油画、丙烯120 cm diameter 直径2015

Sky Island in Changzhou 天屿沧州Oil and acrylic on canvas 布面油画、丙烯 120 cm diameter 直径 2014

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“I understand paintings, sculptures, and installations as visual forms of art. It is therefore my hope that my works are able to visually provoke new experiences of perception and perspective, and furthermore, I hope they provide the possibility for discussion on a conceptual level.”

“我理解的绘画、雕塑、或者装置作品，都是视觉的艺术，我的作品我希望能够提供一点视觉上的新的观看经验。并有观念意识上探讨的可能性！”

Li Yuming李毓明

Landscape Appreciation 观山水Mixed media 装置综合 180 x 160 x 60 cm 2014

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“Mankind is a part of nature, and therefore cannot be talked of separately from nature. My works are deeply intrinsic, honest expressions from my heart, and as such, I consider them to also be a part of nature.”

“人，是自然的一部分，而不是两分。我的这些作品，由心而发，它们是诚实的。基于此，我认为它们也同样属于自然。”

Pang Yun庞云

Pang Yun庞云

Portrait of Trees No. 1 树的肖像1 Oil on canvas 布面油画150 x 150 cm2014

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Portrait of Trees No. 2 树的肖像2 Oil on canvas 布面油画100 cm diameter 直径2014

Portrait of Trees No. 3 树的肖像3 Oil on canvas 布面油画100 cm diameter 直径2014

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Portrait of Trees No. 12 树的肖像12 Oil on canvas 布面油画80 x 100 cm2015

“Chinese philosophy is only concerned with inner experience and outward activity; the language of oil paintings that we face is therefore only a temporary springboard with a manner of expression that cannot in itself be trusted. Zhuang Zi once said: ‘Taoism cannot be explained, the explanations may not be true.’ Zen ‘doesn’t use any words’, and Confucianism, Taoism, and Buddhism all see language as something that is unnecessary, redundant, and misleading. I chose to paint the numerous, individual branches of woods as entrance to this Eastern mindset, to ‘grasp the idea without words’.”

“w中国哲学体系只重视内心体验和外部行动，我们面对的油画语言顶多只能当作一种临时的跳板，对表达的方式采取了极不信任的态度；庄子说：‘道不可言，言而非也’；禅宗则‘不立文字’，儒、道、佛都把语言当成一种多余或误导性的东西。我选择森林的每一根枝条为入口，走进东方的意境，‘得意忘言’。”

Pang Yun庞云

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Portrait of Trees No. 6 树的肖像6 Oil on canvas 布面油画80 x 100 cm2014

Portrait of Trees No. 8 树的肖像8 Oil on canvas 布面油画80 x 100 cm2015

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“I do not wish to merely reproduce the beauty of nature. I look upon the masters of classical Western landscape and I bow in respect to them, simplifying their techniques to draw a bridge between my inner world and the pulse of the universe for expression of a wider dimension. My rearrangement of nature’s primal disposition becomes a spiritual salvation for me, living in the tumult of the urban city. I have a deep affection for the natural forest, and even moreso my inner world. I pray that my city will be a concrete forest no more.”

“我不再复述自然之美，与西方古典风景大师们遥遥相望，我向他们顶礼朝拜，在赞叹之余，我简略了技术之桥，把心灵之境和宇宙脉象观为全息系统。我思索的自然素性重新排列，成为我居住在喧嚣城市的心灵救赎，我热爱自然之森林，更多的是在内心建构。我祈福我的城市不再是水泥森林。”

Pang Yun庞云

Portrait of Trees No. 4 树的肖像4 Oil on canvas 布面油画80 x 100 cm2014

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Portrait of Trees No. 7 树的肖像7 Oil on canvas 布面油画80 x 100 cm2014

Portrait of Trees No. 9树的肖像9Oil on canvas 布面油画80 x 100 cm2015

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Portrait of Trees No. 5 树的肖像5 Oil on canvas 布面油画80 x 100 cm2014

“Man and nature dwell in the poetic sense. In fact, this is a contemporary experience of the traditional Chinese philosophy which expresses Heaven (nature) and mankind as part of the same singular whole. When we attempt to count each leaf of a tree and place nature into strict arrangements, we are being ignorant and forgetful of the fact that we ourselves are derived from nature.”

“人在自然中，诗意的栖居，其实是天人合一的东方品性的当代体验。当我们要去数落每片树叶，有序地排列着画幅之中的镜像时，我们几乎忘记了，我们就是自然之子。”

Pang Yun庞云

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Portrait of Trees No. 10 树的肖像10 Oil on canvas 布面油画100 x 80 cm2015

Portrait of Trees No. 11 树的肖像11Oil on canvas 布面油画100 x 80 cm2015

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Li Yuming (b. 1984, Chonqqing) graduated from the Oil Painting Department of the Sichuan Fine Arts Institute with a master’s degree in 2008. Primarily working in oil and acrylic on canvas and mixed media, his works offer a sense of traditional Chinese landscapes from the Song and Yuan dynasties with a bold contemporary style, melding Chinese and Western styles, attitudes, and perceptions. Depicting tranquil imagery reminiscent of classical ink mountain and water shan-shui paintings, his works are rendered in hues of blues, grays, and pastels on stark black backgrounds, deeply reflective and penetrating.

Li Yuming李毓明

李毓明：1984年出生于重庆，2008获得四川美术学

院油画系硕士学位。主要利用布面油画与丙烯创作，

他的作品借取古代山水的图式符号来表达先锐的视觉

趣味。其笔下的山水形貌虽取法宋元，贯以文人气脉

及造化意象，却完全不是简单的拟古面目，作品利用

若有似无的蓝色、灰色以及粉白对比鲜明的黑色背

景，营造了丰富的层次与感官上的冲击。

Pang Yun (b. 1975, Chongqing) graduated from the Oil Painting Department of the Sichuan Fine Arts Institute in 2005. Her works of oil on canvas inspire quiet reflection and a sense of resolute control with detailed but technically precise brushstrokes. Her latest series Portrait of Trees is inspired by the natural order and structure of trees with their upward-reaching illimitable branches that stand still and tranquil against surrounding storms. At once earthly, grounded, and spiritually transcendent, her style of painting offers a freedom from tension based on the power and serenity of the natural world. With an atmosphere akin to meditation, Pang Yun layers her canvases with an abundance of repetitive yet expressive strokes.

Pang Yun庞云

庞云：1975年生于重庆，2005年毕业于四川美术学

院油画系。庞云的布面油画让人感受到一种坚毅的掌

控同时又伴随着精细优雅的笔触。近期系列作品“树

的肖像”受到自然秩序的启发，树枝不断地向上生

长，总是平静地与周遭对抗，使其感受到来自自然世

界的力量与沉着。以类似禅修的方式，庞云用充满张

力的笔触层层叠叠地布满每张作品。那些细密的，层

层覆盖的蔓枝构织成一张张平面的视觉樊网。历时的

笔触与念珠类似，它量度时间，周而复始，却也无始

无终。

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