Brushstrokes capture China’s literary past
(MENAFN) In a serene Manhattan gallery along Broadway, visitors encounter an atmosphere where ancient poetry meets contemporary brushstrokes, capturing echoes of China’s literary past in a modern artistic language.
The exhibition, titled "Poetics of Chunyang: Transgression and Invocation of A Tradition," features the work of Chinese artist and Harvard visiting scholar Li Chunyang. With close to 30 pieces on display at the 456 Gallery through June 27, Li bridges the gap between traditional Chinese literati art and modern expression.
Recognized for her academic contributions to the field of Chinese intellectual history, Li incorporates her deep-rooted understanding of classical aesthetics and poetic traditions into her artwork.
"My stance is rooted in cultural essentialism," she said at the opening event on Friday. "From Song and Yuan paintings I begin, but I use materials from China, Europe, America, and Japan to seek the classical realm of Chinese poetic imagery -- its taste and meaning."
Li holds a doctorate in Art History and Theory from the Chinese National Academy of Arts. Her international academic engagements—with institutions like Tama Art University, Goethe University, and Harvard—have influenced her artistic development, fostering a style that explores abstraction while grounded in rich cultural and philosophical ideas.
Many of her works take their names and inspiration from revered classical texts. One notable piece, "Chutian River & Moon," reflects on Zhang Ruoxu’s well-known poem "Springtime Night at River with Moonlight and Flowers," translating the verse's contemplative tone into delicate visual form.
In her hands, brush and ink become tools not just of art, but of memory—invoking a timeless poetic spirit that resonates beyond borders.
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