Yang Xiaoyun,native of Shandong Laiyang,graduated from the Fine Arts Department of Nanjing University of the Arts with a degree in oil painting in 1987.
solo exhibition:Boundless Landscapes, Shenzhen.
solo exhibition:Jiangnan Images, Hong Kong.
Prospect China, Beijing.
solo exhibition:Spirit Reflection, Shanghai.
Riotous Soul, Bonn, Germany,Beijing.
A still universe, a meaningful painting
Since the Italian missionary brought the first oil painting to China during the Wanli period of the Ming Dynasty, the exploration of Chinese and western painting’s combination has run through the art circles till now, making countless artists strive for it endlessly. Generally, it’s divided into three parts: firstly, ’flow’, which means the inflow of early oil painting of western Europe; Secondly,’ fusion’, with the constant communication of Chinese and international artists, a group of artists with much strength have sprung up, yet some have gone into nondescript dead ends due to bad combination; Thirdly,’ originality’, which has been discussed nowadays, with the combination of the expression of vivid of Chinese traditional painting and western multilevel painting skills . Simultaneously, it’s imperative to create our own nation’s oil painting. The highest level of art is the meaning, so do the combination of Asian and western paintings. And the carrier for the meaning is the place. Then, what kind of works has artistic conception? Let’s enjoy some works of Yang Xiaoyun.
Throughout his works, the most prominent characteristic is quietness, the essence which is implanted deeply in all manifestation modes. Firstly, the color of the works. Neither did he use too much color and over-intense saturation on the still life of flowers and landscape, nor pursue the grayscale level of Chinese traditional ink. Instead, he used moderate colors. Wherever in people’s life or ideology, different colors stimulate people’s senses intensely, and have an influence on their mood, with Red, which stands for hotness and excitement, and yellow for beauty and brightness and black for melancholy and isolation. As to his using moderate color in his works, he rendered the quietness in place, like a hermit in ancient times, who were neither pleased by external gains nor saddened by personal losses, and not totally doing nothing.
Secondly, the form structure of the works. It’s not embellished by the ruggedness and unconstraint of freehand drawing or the delicacy and vividness of realistic oil painting. Instead, there’s delicacy along with ruggedness, order with delicacy and artlessness with order. From the structure of the works, it can be seen that the artist’s whispering leisurely standing in flowers and from the flickering branches, it’s easy to experience the artist’s deep love to nature. He drew the dynamic moment and the true meaning of regression vividly. And we’re capable to feel the calm expression of the new bud from the dead tree. The structures of every works infect every viewer, which is tasteful and profound.
The thickness of a works determines the place’s conceptive form. There’s no manipulative choice when we combine ideological and practical work of Chinese painting with western painting perspective. A great number of artists overemphasize the sense of texture when combining, with China landscape thematically and a traditional layout, which make the painting stiff and discordant and result in much loss of the sense of place. However, Xiaoyun made a good combination of those factors，then a rich picture coming into being. The pistil part seems to be spilt by a great ink, like a traditional Chinese painting does, which shows a fresh and natural description of the dancing pistil with a gentle breeze. The branches part of many works gives a stratified and appealing demonstration of oil painting texture, which complements the rendering of Lingnan style of painting in the background. After a careful look at it, you may intend to push the flowers aside. It’s woeful when art grows into a form. Art has to be a distillation of comprehension. A work of art touches our heart and motivates us forward. The artistic conception of his works doesn’t exist in his paintings, but in the philosophy from the paintings, and in the meditation on life after enjoying them. ‘Quietness’ is extravagant for the impetuous, but it is what an artist composes and explores throughout his entire life. And this is what Xiaoyun and his works do.
Chinese National Academic of Arts