{"id":5196,"date":"2021-12-30T14:46:34","date_gmt":"2021-12-30T06:46:34","guid":{"rendered":"https:\/\/wdyart.com.tw\/2021\/12\/30\/strange-mountains-and-mystery-rocks-wu-deng-yis%e3%80%8aimperial-landscapes%e3%80%8b\/"},"modified":"2023-01-16T16:05:17","modified_gmt":"2023-01-16T08:05:17","slug":"strange-mountains-and-mystery-rocks-wu-deng-yis%e3%80%8aimperial-landscapes%e3%80%8b","status":"publish","type":"post","link":"https:\/\/wdyart.com.tw\/en\/2021\/12\/30\/strange-mountains-and-mystery-rocks-wu-deng-yis%e3%80%8aimperial-landscapes%e3%80%8b\/","title":{"rendered":"Strange Mountains and Mystery Rocks: Wu Deng-yi’s\u300aImperial Landscapes\u300b"},"content":{"rendered":"

\u300aImperial Landscapes\u300b is Wu Deng-yi’s new work, which was specially selected as the theme work of Wu Deng-yi Art Museum in this year’s “ART TAIPEI Taipei International Art Fair”, that is different from the past. It depicts the beauty of mountains and rivers in incomplete real scenes, and has the artistic meaning of abstract sign (signifier\/signified), interpreting and interpreting\u300aDelicate And Beautiful Mountain Surrounded by Clouds\u300b.
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Another previously published \u300aEndless Miles\u300b(2013, color and ink on paper, 72 x 1648 cm) was created in 2013. The work lasted for three years and was based on the magnificent landscape of the Three Gorges of the Yangtze River. The dialogue and imagination of the creator’s inner landscape and field reality. Ink and color ink works with the theme of\u300aEndless Miles\u300bare quite common in the history of Chinese art, but such huge scrolls are extremely rare.<\/span><\/p>\n

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\u6c5f\u5c71\u842c\u91cc\u5716\uff08\u5c40\u90e8\uff09 Endless Miles\u00a0 72×1648 cm \u5f69\u58a8\u7d19\u672c Color ink on Paper\u00a0 2013<\/h5>\n

Wu Deng-yi’s earlier\u300aEndless Miles\u300bis based on light blue and green, with ochre or ink as the lining between the painted scenes, so that the picture has clear layers, vivid changes without losing the whole; however,\u300aImperial Landscapes\u300bIt is a work that is different from the past. It depicts the beauty of mountains and rivers in incomplete real scenes, and has the artistic meaning of abstract sign (signifier\/ signified), interpreting and interpreting its “synchronic” and “diachronic”. (diachronic), continuing the style of the 2020 classic work\u300aDelicate And Beautiful Mountain Surrounded by Clouds\u300b (color and ink on paper, 66.7 x 66.7cm), “simulacrums” and “mindscapes” that are close to the real scene but heavy in structure. The painted landscapes of “Sumi Mustard Seeds” are metaphors and dialogues for the historical landscapes of space and time and the ravines in the heart. It combines realism and abstraction, narrative and allegory, and has a sense of “cultural continuity” and “contemporary”.<\/span><\/p>\n

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\u300aImperial Landscapes\u300band\u300aEndless Miles\u300bare the revival of Chinese long scroll color ink or ink landscape painting; Chinese landscape painting originated in the Wei\u3001 Jin,\u3001Southern and Northern Dynasties (220-589) and the subsequent Sui Dynasty, earlier than Western naturalism and external light, or the Barbizon School (Barbizon School) has a history of nearly a thousand years;\u300aImperial Landscapes\u300b uses “multi-point perspective” to emphasize “flat distance (changing focus), high distance (visceral vision), far-reaching (far borrowing, Chinese borrowing, and layers)\u201d. During the Five Dynasties, Jing Hao and Guan Tong, who portrayed the majestic spirit of the mountains and rivers in the north, appeared in the north and south, and Dong Yuan and Ju Ran, who were admired by Mi Fu and Shen Kuo in the Northern Song Dynasty, represented the interest of Jiangnan in southern landscape paintings. The tradition of landscape painting in the Song Dynasty was mainly manifested in the style of ink and wash. The “literati painting” of the Song and Yuan Dynasties gradually moved away from the blue and green colors, and developed towards the ink and wash of the Yuan, Ming and Qing Dynasties.<\/span><\/p>\n

In the lost context, the form of green and green landscape painting came to contemporary art, and the re-evaluation and in-depth discussion of early works of Chinese landscape painter Wang Ximeng\uff081096-1119\uff09 and the discussion of “A Thousand Miles of Rivers and Mountains”, along with many art appreciations and interpretations, has become a classic masterpiece of heavy color accumulation. It is worth noting that surrounding green and green landscapes has become the theme of modern color ink and ink expressions. Wu Deng-yi’s\u300aEndless Miles\u300bis a restart of the blue and green ink scroll, while Wu Deng-yi’s work\u300aImperial Landscapes\u300bis in the same scroll format, but with More creatively “re-writing” the landscape, although the two sides of the strait are no longer “unstoppable”, but a brand-new urban style, but Deng-yi uses strange mountains and rocks to prove the “durations and changes of history”. artifacts), developed a new narrative technique.\u300aEndless Miles\u300buses a magnificent realistic scene to express emotion in the landscape; \u300aImperial Landscapes\u300b takes the virtual scenery of strange mountains as the theme of the picture, presenting the beautiful scenery of the world.<\/span><\/p>\n

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\u300aImperial Landscapes\u300bscene sounds the same as “earth” scene; “Emperor” actually means “universe” and “ruler”; \u201cJiangshan-Maintains and Rivers\u201d is as big as the universe and as small as hills and ravines, such as “sumer mustard seeds”; The painting has gone through the years, it can show that the strange stone has faded away, or it can stand firm like a rock through the ages, depending on how the viewer controls it. Wu Deng-yi’s strange mountains and rocks resembling Taihu Lake are a metaphorical technique, which not only connects our symbolic imaginations of “The Story of the Stone” and “Variety of Stones”, but also the creator’s use of the great and long-lasting, eternal and eternal The reflection on the “realistic image” of the landscape and the romantic narrative of the characters is also a “microscopic approach” to the narrative of time and space.<\/span><\/p>\n

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\u300aImperial Landscapes\u300btook about three years from conception to completion. In Chinese poetry and painting, “there is painting in poetry” and “poetry in painting” has a certain natural echo in the long scrolls of landscape and landscape. Wang Wei is admired because his landscape images are poetic and pictorial. A statement of a state, not just a portrait or re-expression of the magnificent scenery. From Dong Yuan to Zhao Mengfu, these works are no longer just the realism of natural landscapes, but the freehand brushwork of emotional landscapes. Long scrolls are a unique form of Chinese painting aesthetics. Under the influence of today’s Western art forms, exhibition venues, art galleries, and long scrolls cannot open screen exhibition albums, play with them, and even open them all.\u300aImperial <\/span>Landscapes\u300bis about 16 meters long, and you have to “play” it in your hands bit by bit. Now you can carefully browse the tour, and you can see the pavilions, characters, and scenic spots up close, and you can also see the mountains from a distance. The great rivers and the rivers and mountains are thousands of miles, you can go forward or go back. The wrapping of the long scrolls is incorporated into the painting, for the sake of\u300aImperial Landscapes\u300b and for the continuation of the long scroll aesthetics, Wu Deng-yi created a new sign of the contemporary color ink scrolls.<\/span><\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

\u300aImperial Landscapes\u300b is Wu Deng-yi’s new work, which was specially selected as the theme work of Wu Deng-yi Art Museum in this year’s “ART TAIPEI Taipei International Art Fair”, that is different from the past. It depicts the beauty of mountains and rivers in incomplete real scenes, and has the artistic meaning of abstract sign<\/p>\n","protected":false},"author":13,"featured_media":4032,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[141],"tags":[],"class_list":["post-5196","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art-reviews"],"yoast_head":"\nStrange Mountains and Mystery Rocks: Wu Deng-yi's\u300aImperial Landscapes\u300b - \u5deb\u767b\u76ca\u7f8e\u8853\u9928<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/wdyart.com.tw\/en\/2021\/12\/30\/strange-mountains-and-mystery-rocks-wu-deng-yis\u300aimperial-landscapes\u300b\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Strange Mountains and Mystery Rocks: Wu Deng-yi's\u300aImperial Landscapes\u300b - \u5deb\u767b\u76ca\u7f8e\u8853\u9928\" \/>\n<meta property=\"og:description\" content=\"\u300aImperial Landscapes\u300b is Wu Deng-yi’s new work, which was specially selected as the theme work of Wu Deng-yi Art Museum in this year’s “ART TAIPEI Taipei International Art Fair”, that is different from the past. 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