Ancient Costume Figure Painting Appreciation Series Liang Zhanian

Author: Liang Zhanyan
Publisher:
Publish Date: 2003-01-01
Features: When tired and exhausted, I like to quiet down and think. The more I think, the more likely it is to form a knot in my heart. Longing for something yet feeling it's out of reach only intensifies the yearning. In fact, perhaps most modern urbanites share this feeling. Some exaggerate it without restraint, though it may come across as a bit theatrical, it's still something that's easily understood. Upon closer reflection, this isn't an issue unique to modern people—it's a cultural one. The idea of transcending worldly matters isn't just something the Daoists advocate; Confucius also lamented, "If I do not associate with the followers of such a man, with whom should I associate?" It seems this is a widespread sentiment. The things I think about in the daytime and dream about at night are inevitably expressed through painting, giving rise to these figures in ancient attire. I've poured a part of my passion into them, for only in this way can my heart find solace.
If we speak of its meaning, I believe it has both metaphorical and artistic dimensions. For example, as mentioned above, there's the underlying sentiment, and then there's the essence of art itself—such as brushwork, composition, brushwork, and composition. I haven't treated these technical elements as mere techniques; they embody cultural spirit. My creative impulses have always arisen alongside this spirit, and form and meaning are intrinsically intertwined. In the preface to the "Li Shanren Poetry Collection" by Ming-era scholar Tu Long, it is written, "Words must align with emotion, intent must harmonize with the setting, tone must match the style, and writing must reflect character—not only were they exceptionally talented, but their roots in nature run deep indeed."