Gallery

Yang Yongliang 杨泳梁, Horse Training 马训练, 2011
Epson Ultraglicee print on Hahnemühle, 100 x 220 cm

This print comes from the Peach Blossom Colony series, which was Yang’s initial foray into placing human figures into his works, using actors as stand-ins for members of the literati class. Rather that attempting to recreate a landscape painting, this work references a specific artistic tradition in China of horse painting.

Zhao Mengfu 趙孟頫, Yuan Dynasty (1260-1368)
Horse and Groom in the Wind
Album Leaf, ink on paper, 22.7 x 49 cm

Zhao Mengfu’s ink on paper work served as the inspiration for Yang Yongliang’s Horse Training. Zhao is remembered as an exception painter of horses in the style of Tang Dynasty master Han Gan, but he also painted a number of different animal groups, landscapes, and bamboo scenes.

Yang Yongliang 杨泳梁, The Mind Landscape of Xie Youyu 幼壄丘壑图, 2011
Epson Ultraglicee print on Hahnemühle, 95 x 321 cm

Another example of the Peach Blossom Colony series, this work follows in the style of Zhao Mengfu’s handscroll of the same title. The subject of the scene is Xie Youyu, a scholar-official who is portrayed seated across from a stream in a landscape of his own imagination. By referencing this specific work, Yang is more directly addressing the literati painting tradition.

Zhao Mengfu 趙孟頫, Yuan dynasty (1260–1368)
The Mind Landscape of Xie Youyu 幼輿丘壑图
Handscroll; ink and color on silk, 27.4 x 117 cm

This handscroll served as reference for Yang Yongliang’s work of the same title. This is one of Zhao’s earlier works and references the blue-green style landscapes of the Jin and Tang Dynasties. The illusions to tradition can be seen in the flatness of the forms, the coloration, and the proportions of the figure to the landscape. It is interesting that Yang took reference from a traditional work that was also referencing traditional styles.

Yang Yongliang 杨泳梁, Artificial Wonderland 1 人造仙境之一, 2010
Epson UltraGiclée print on Epson fine art paper 640 x 120 cm

This work Artificial Wonderland takes reference from Yan Wengui’s Buildings Among Mountains and Rivers from the Song Dynasty. Yang’s work reinterprets the landscape of the old master, following the traditional mode of referencing past works.

Yan Wengui 燕文贵, Song Dynasty (960-1279)
Buildings Among Mountains and Rivers 江山楼观图
Handscroll, ink and color on silk, 31.9 x 161.2 cm

This handscroll by Yan Wengui exemplifies the artist’s style, as he was known for painting buildings, boats, and vehicles. His specific style paired with Fan Kuan’s signature painting methods represented the two major schools of northern landscape painting.

Yang Yongliang 杨泳梁, Viridescence No. 2, 2009
Epson UltraGiclée print on fine art paper, 53 x 207 cm

The second print in a larger series, Viridescence focuses specifically on the short lived tradition of blue-green landscape painting, that emphasized bright, vivid hues of blue and green. This work shows Yang Yongliang experimenting with the different styles available within traditional landscape painting. As the work that Yang took reference from is extremely large, he focused in on a larger section.

Wang Ximeng 王希孟, Northern Song Dynasty (960-1127)
One Thousand Li of Rivers and Mountains 千里江山
Handscroll; ink and color on silk, 51.5 x 1191.5 cm

Wang Ximeng’s One Thousand Li of Rivers and Mountains is the only surviving work by the artist. The artist was one of the most well-known court painters of the Northern Song Dynasty and this painting is one of the largest paintings in Chinese history. It features the vivid blues and greens that are accustomed to blue-green painting.

Yang Yongliang 杨泳梁, Phantom Landscape I No. 1 蜃市山水一之一, 2006
Epson UltraGiclée print on fine art paper, 60 x 120 cm

The earliest of Yang’s works in the exhibition, this piece represents the beginnings of Yang’s stylistic experimentation. In viewing his earlier work, it becomes apparent how his later works more strongly exemplify the aesthetic and emotional qualities of the traditional works.

Shen Zhou 沈周, Ming Dynasty (1368-1644)
Lofty Mount Lu 廬山高
Hanging scroll; ink and colors on paper, 193.8 x 98.1 cm

This hanging scroll is the only work not from the Song or Yuan Dynasty, but is from the later Ming Dynasty. As this piece Lofty Mount Lu was referenced earlier in Yang’s career, the artist may have used his work Phantom Landscape No. 1 as a form of experimentation and perfecting his technique.

Yang Yongliang 杨泳梁, Artificial Wonderland 2 人造仙境之二, 2010
Epson UltraGiclée print on fine art paper, 100 x 160 cm

This print is the second in the Artificial Wonderland series and is an example of the vertical landscape style. In this work, Yang has copied the imagery of the traditional master but has removed all of the calligraphic elements. By removing the extra text and seal components, he is making the landscape more contrasted and stark in appearance.

Fan Kuan 范寬, Northern Song Dynasty (960-1127)
Sitting Alone by a Stream 临溪独坐图
Hanging scroll; light color on silk, 156.1 x 106.3 cm

This hanging scroll is by Fan Kuan who is most well-known for his Travelers Among Mountains and Streams. The painting features a large amount of calligraphic components that are written poetry by the various holders of the scroll.