Through a cross-cultural exploration and a practice-based research this study attempts to develop and create new form of landscape painting and new method of making it. It investigates the genre of landscape painting between ancient China and modern and contemporary West, addressing its specific theoretical concepts, practical methods and materials language, with a focus on how to critically think and use the ancient methodologies to make today's contribution.
This study argues the ancient Chinese art theories, philosophy ideas and methodologies of painting and calligraphy can be well applied and fused into contemporary landscape painting practice, as a result to bring new thought and understanding on pictorial space, perspective and concept of time, etc in landscape painting, and so to expand existing artistic formats.
This study is not only a cultural and regional exploration crossing and referencing between Eastern and Western art, but also a methodological compromise from the ancient to the contemporary art, which might bring this research a little bit different.
This study argues the ancient Chinese art theories, philosophy ideas and methodologies of painting and calligraphy can be well applied and fused into contemporary landscape painting practice, as a result to bring new thought and understanding on pictorial space, perspective and concept of time, etc in landscape painting, and so to expand existing artistic formats.
This study is not only a cultural and regional exploration crossing and referencing between Eastern and Western art, but also a methodological compromise from the ancient to the contemporary art, which might bring this research a little bit different.
Theoretical study aims to bring new perspective of think and method of analysis, broadening the cultural boundary of landscape painting and enriching the current understanding in the field. It also provides systematic inquiry and discussion to develop a critical awareness and the appropriate methodology of studio practice. Studio practice seeks the possibilities to create new form of contemporary landscape painting as well as the methods of making it, which include diverse aesthetic concepts and cultural understandings.
Empty Moments in Time Oil on Canvas 50-100 by six panels 2015