A Myna Perching Over the Lotus Pond

Every artist is an individual medium in his or her own right,clouding or refashioning the phenomena in the peculiar way or breaking them up then reconstructing them strikingly, as it were. This, in fact, is how the artist transform what is given into a work of art. In my art, my attemp is to concentrate on the states of vision and highlight the value of coupling a sense of tradition with innovation.

A slanted weeping willow is positioned diagonally from left to top right. Unconsciously, we always register a diagonal arrangment as an active, rising thing in paintings. Therefore the leaves of the willow swaying in the gentle wind seem all the more brish. This visual effect also come from the unstrained and delicate brushwork which is the basic request of the artist to master the traditional expressing skill with dexterity. The overall conception of the pictorial structure suggest my approach to deploy my effort to express the lush summer delights of the lotus pond.

As for the posture of the myna, I opted for a different angle to depict that was all the more striking for being unfamiliar. Without the moulding possible to light effect, the bird in the foreground is three-dimensional.  It is the advent of a new approach in my work. It is also an attempt to blend figures optically into their surroundings. The leaves and the bird painted in relatively subdued tones was executed with relaxed hand yet was also conspicuously exact in the draughtsmanship. The myna’s mottled black feathers recorded nuanced shades to emphasis it’s volumn, and at the same time it is the orchestration with the muted green colour surrounding it.

In the lower part of the picture. A lotus glints through the willow and thus has created an optical distance. By gradation of the changing sizes of the leaves and flowers in the pond, a certain sense of depth is added in the planar qualities of the picture.

Although no light source can be identified, the pond which is rendered as the backdrop is bright. It is because the outlines of the leaves is drawn delicately while they are adumbratively coloured with watery green to achieve the brilliant effect.

The painting combined a number of technical strategies which is an idiosyncratically tentative approach, comparing Nature with the organic pictorial image and trying to bring the two into line.

A White Swan Gliding on the Surface of the Pond

Sometimes using the artistic vocabulary in a particular sense of vision is simply whimsical. As I aim to compose the suites of paintings with the motif of lotus, the reverie of the panoramic view of lotua pond with a tapestry of leaves and flowers emerged in the rippling water extending to the distant horizon, with a white swan paddling in it always absorb me. However to bring a new project to resolution is not easy to be realized.

Without relinquishing an array of traditional brush teachniques, I had already begun by 2010 to formulate the more sophisticated approach to theme and colour that would characterize all my lotuse pictures. This group of closely related pictures is executed to pursue a kind of modern expression in search of the various possibility within the presiding theme. My lotus pictures are also my meditations on contrasting modes of artistic awareness.

The treatment of colour could be descriptive or decorative, whereas in the “A white swan gliding on the pond’s surface” is characterised both by the calculated interplay of opposing complementary tones that heighten the illusion of space and by the contrasting interplay of closely related tones with just the opposite effect. In this picture, the related tones of the bright red colour of the lotus petals on the left, with the other red one muted in the golden light stand out and interact with the complementary green tones of those leaves. The red colour punctuates the complementary green waterscape, and then the spatial plane is formed.

The third lotus is rendered with all shades of purple which was conceived first of all as a harmony to the shaded background.The dimmed colours of green, blue, purple are like visual poetic vacables with orchestrated details all being encapsulated in the decorative harmonies.

At the same time, I defined some leaves which scattered on the plane with contour lines, that resonate with the delicately depicted swan as to achieve a decorative unity. In this painting a combined efforts as to suggest a parity between the sensitivity of the voluminousness of the pond, and the invariable quality of the basic form of the lotus render the changeable nature of the lotus pond with some everlasting quality.

The calculation of every nuance is by no means impromptu. All the artistic vocabularies harmonize, blend and finish by producing something vital and fine, that people should not see so much as intuit.