|
|
Dan Xu, is trained in Traditional Chinese painting; her work features delicate ink and wash applied with wool brush on Xuan paper, After immigrating to Canada from China, with En Plein air painting practice, she uncover the ancient Chinese landscape aerial perspectives from 600 hundred years ago, and applied this floating perspective to the Maritime Landscape,
Xu’s approach is simultaneously ethereal and grounded, viewers will readily iconic landmarks and known features of the Fundy landscape.
Xu has participated in solo and group exhibitions across Canada and China, and her work is held in the public collections of the New Brunswick Art Bank. Xu is a recipient of numerous grants and awards, including funding from ArtsNB and Canada Council for the Arts.
Xu’s approach is simultaneously ethereal and grounded, viewers will readily iconic landmarks and known features of the Fundy landscape.
Xu has participated in solo and group exhibitions across Canada and China, and her work is held in the public collections of the New Brunswick Art Bank. Xu is a recipient of numerous grants and awards, including funding from ArtsNB and Canada Council for the Arts.
I have been researching ancient Chinese painting methods since 1992. Ever since 2009, I have been painting the landscapes of the Atlantic Provinces, and through these ten years since then, I have finished three projects where I documented the landscape using classical Chinese Ink-Wash painting methods. And, during these ten years, I believe I have uncovered the ancient method that the ancient artists between the Song Dynasty and the Ming Dynasty used.
I believe that the Ancient Chinese used aerial perspective and that the methods of Chinese landscape are rooted in the Chinese literature, “Zhuangzi Getaway” (bc.369) where the aerial views of a giant flying bird named Phang is described (bc. 369-). The landscape painter Jinghao (c.855-915) explored Chinese landscape painting theories under the Aerial perspective in his book, “Notes on Brushwork". In his book, Jinghao established a painting model that people painting landscapes should use. It was because of this book that after 600 years, the painting model remained intact, but few knew about the formula behind the pattern.
That is the reason most Chinese painters don’t know about this Chinese painting theory: it was lost, and even at the top of Chinese professional art school, young art students use western methods to create a traditional Chinese painting.
To test if I had truly uncovered it, I painted in Canada for ten years, not painting from photos, nor using Western painting methods. Instead, I captured the Canadian landscape in another realistic way. I painted using aerial perspective, the painting style and methods from ancient China, but the landscape from Canada. I want to bring an old but brand new way of painting to Canada!
I believe that the Ancient Chinese used aerial perspective and that the methods of Chinese landscape are rooted in the Chinese literature, “Zhuangzi Getaway” (bc.369) where the aerial views of a giant flying bird named Phang is described (bc. 369-). The landscape painter Jinghao (c.855-915) explored Chinese landscape painting theories under the Aerial perspective in his book, “Notes on Brushwork". In his book, Jinghao established a painting model that people painting landscapes should use. It was because of this book that after 600 years, the painting model remained intact, but few knew about the formula behind the pattern.
That is the reason most Chinese painters don’t know about this Chinese painting theory: it was lost, and even at the top of Chinese professional art school, young art students use western methods to create a traditional Chinese painting.
To test if I had truly uncovered it, I painted in Canada for ten years, not painting from photos, nor using Western painting methods. Instead, I captured the Canadian landscape in another realistic way. I painted using aerial perspective, the painting style and methods from ancient China, but the landscape from Canada. I want to bring an old but brand new way of painting to Canada!
Walking alone the Maritime’s coast, using my Chinese brush, I have been painting the Bay of Fundy for over three years, recording my observations with paintings, and understanding the land more. The Bay of Fundy is a powerful force in the Maritimes; with its tides and waves, it carved its own path through rocks. Hopewell Rocks shows the power of nature--she sculpts, but she also destroys. In the Summer I painted the coast of the Fundy, and in Winter I painted the snow.
When I first came to New Brunswick, I saw the snowy woods and mountains, so white and charming. I wondered, “Why not capture the unique beauty using my brush?”. So, again and again, I tried to capture the beauty of nature, using not only the ancient Chinese perspective and painting methods but also the Western painting style. Passion and serenity—they mix and coexist slowly in my ink, some in conflict, and some in harmony, just like my new life in this new land.
After having passed this eventful Winter, there’s a lot I want to express. I hope that through these works, I have captured the beauty of the Maritimes, this season, and this culture. It is all about the conversations between nature and I, rough or fluid, happy or sad, all from my soul.
Nearing the end of winter, we are awaiting spring.
When I first came to New Brunswick, I saw the snowy woods and mountains, so white and charming. I wondered, “Why not capture the unique beauty using my brush?”. So, again and again, I tried to capture the beauty of nature, using not only the ancient Chinese perspective and painting methods but also the Western painting style. Passion and serenity—they mix and coexist slowly in my ink, some in conflict, and some in harmony, just like my new life in this new land.
After having passed this eventful Winter, there’s a lot I want to express. I hope that through these works, I have captured the beauty of the Maritimes, this season, and this culture. It is all about the conversations between nature and I, rough or fluid, happy or sad, all from my soul.
Nearing the end of winter, we are awaiting spring.
Awaiting Spring
