宣纸 设色 colour on rice paper 2012年 78cm x 55cm
I received a lot many mooncakes from Yunnan, Sichuan,Guangxi and Shenzhen, and pomegranate from Panzhihua, and much of them stayed untouched long after the Mid-autumn Festival. So I used the expired mooncakes and the dried pomegranate seeds for painting. That was the consequence of the utmost abundance of materials. But the paint-ing thus made was tranquil and leisurely, and then I realisedthat intention was hard to achieve.
宣纸 设色 colour on rice paper 2012年 110cm x 78cm
Looking at the thick cardboard of seven-layer rice paper, I felt the itch for painting. This paper is definitely tougher in use than thin paper. On the tea table were a big bunch of grape and mooncakes from the Mid-autumn Festival. Suddenly it flashed in my mind the actions of Jackson Pollock and I took out a basin, prepared the ink and made three paintings-a lot more were wasted and thrown away. The title and meaning of the paintings were given later. One week later I went to Paris but did not have proper gifts, so I divided one of the paintings into four pieces, mounted and presented to Jean Nouvel and Hubert Tonka, the remaining two I gave to Qi Xin and Zhu Xiaodi. The first three are hang ing on the walls of their houses, but the one given to Xiaodi is gone, probably he does not like it.
宣纸 设色 colour on rice paper 2015年 22cm x 14cm
I use a kind of very thick cardboard of several layers of rice paper, so expensive that I did not want to throw away the bits and pieces and used them for exercise. The traces thus accumulated were like the ink and wash painting of the ancients. I happened to be reflecting on foreign architecture and the Shanshui city, so I added the dome and the sloping roof. With the clearness overdone, it did not look like a city in smog, so I had a thin layer of silk mounted on the surface, making it as if a scene of half sleep.
水印木刻 woodblock print with water-based pigments 2018年 76cm x 56cm
I exercised writing and painting on the above mentioned thick cardboard. With images accumulated, they were then classified, magnified and rendered into woodblock prints with water-based pigments. The title of the painting is derived from the image of bowing and paying homage to a turtle, symbol of longevity.
宣纸 水墨 Ink and wash on rice paper 2013年 75cm x 72cm
I took Jean Nouvel on a trip to the liao dynasty wooden Pagoda at Yinxian County, Shanxi Province. A friend there gave me a wood model of the wooden pagoda, which I put in my studio. I see it very often and its image often emerges in my mind. As time went by I painted this painting. The title of the painting and the slanting calligraphy suggest the vicissi-tudes of changing time.
宣纸 设色 colour on rice paper 2012年 137cm x 69cm
It was a May Day and everyone was on vacation and resting, but I had to work. I looked upon a big dipper brush and started to paint. I happened to be facing an ebony paperweight with engravings of words by Wu Changshuo meaning ” Han Dynasty calligraphy for wine and Qin Dyansty cloud reflected on river”. I like the words very much, and applied ink on it and stamped it reversely on the painting, adding to it a scholarly touch and eliminating dullness.