Comprehensive Appreciation of Historical Costume Figure Paintings: Liang Zhan Yan

Author: Liang Zhanyan
Publisher:
Publication Date: 2002-01-01
Features: Tired, weary, I like to quiet down and think, and the more I think, the more often it forms a knot in my heart. What I yearn for but find unattainable only makes me long for it even more. Actually, most modern city dwellers probably share this feeling. Some exaggerate it recklessly, though it may seem a bit theatrical, it is still understandable. Think carefully, this isn't a problem unique to modern people; it's a cultural issue. Seeking detachment from the mundane world isn't just what Taoism preaches; Confucius also expressed regret with the words, "Who but the disciples of this school would I associate with?" It seems this is a common sentiment. What is thought during the day and dreamt about at night naturally manifests in painting as these ancient figure characters. I pour a part of my passion into them, because nothing else would satisfy my heart. If I were to speak of its meaning, I believe it has both thematic significance, as mentioned above, and artistic essence, such as brushwork, brushwork, brushwork, and composition. I haven't treated these technical elements as mere techniques; they embody cultural spirit. My creative impulses have always arisen from this spirit and proceeded along with it, because form and meaning are inherently one. The Ming Dynasty scholar Tu Long once wrote in the preface to "Li Shanren's Poetry Collection," "Words must align with emotion, meaning must resonate with the scene, tone must match the style, and writing must reflect substance—not only are their talents exceptional, but their roots in nature and temperament are truly profound."—, Pan Tianshou at Yandang Mountain, etc.