SONG HUI ZONG’S PINE | 宋徽宗的松树
In the Six Mausoleums of the Song Dynasty in Shaoxing, Zhejiang are buried Song Huizong and his descendants. After thousands of years, the mausoleum has long been levelled to the ground, with but a few centuries-old pines left for remembrance. In the first encounter with a Lone Pine in the mausoleum, I was amazed at its lonely silence and the attitude of independence from the world. It was just like the pine in the Huizong masterpiece "listening to Qin", or even more like his unique signature. Huizong, who lost his life in the wild land in Northeast China, never returned to his native land. After thousands of years, maybe the Song Huizong’s pine tree embodies the soul and spirit of him.
Jing Hao, the master of Shanshui painting in the Five Dynasties, said in Bi Fa Ji that "画者，画也。度物象而取其真。" That is to say, we examine the likeness between the object and the painting, so as to explore and grasp the innate truth of it. The truth by Jinghao is the truth of life experience as well as the truth of philosophic thinking that is not limited to the objective reality. What differentiates Shanshui(mountains and waters) painting from landscape painting is that while the depiction of scenery can be derived from the actual scene, it is not only a rigid reproduction, but a more universal and ultimate image to be transformed beyond the visual experience.
Song Huizong’s Pine is one series of my long-term projects True Mountains and Waters. This series of works follows the pattern of "pedigree" which is unique in the history of Chinese painting. It uses photography to carry out a real view of the important works in the history of Shanshui painting, and realize the deconstruction and reconstruction through the time and space with imitated images.
“Art is history”(Fang Wen), and “all history is contemporary history”( Teoria e Storia della Storiographia, Croce). The contemporary presentation of art history is the contemporary history of my attempt to research and write with photography.
Size（cm）：80X160 Material：Inkjet Print on Silk
Date：2016 Edition of 7
Jing Hao, the master of Shanshui painting in the Five Dynasties, said in Bi Fa Ji that "画者，画也。度物象而取其真。" That is to say, we examine the likeness between the object and the painting, so as to explore and grasp the innate truth of it. The truth by Jinghao is the truth of life experience as well as the truth of philosophic thinking that is not limited to the objective reality. What differentiates Shanshui(mountains and waters) painting from landscape painting is that while the depiction of scenery can be derived from the actual scene, it is not only a rigid reproduction, but a more universal and ultimate image to be transformed beyond the visual experience.
Song Huizong’s Pine is one series of my long-term projects True Mountains and Waters. This series of works follows the pattern of "pedigree" which is unique in the history of Chinese painting. It uses photography to carry out a real view of the important works in the history of Shanshui painting, and realize the deconstruction and reconstruction through the time and space with imitated images.
“Art is history”(Fang Wen), and “all history is contemporary history”( Teoria e Storia della Storiographia, Croce). The contemporary presentation of art history is the contemporary history of my attempt to research and write with photography.
Size（cm）：80X160 Material：Inkjet Print on Silk
Date：2016 Edition of 7
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