BinDing 丁彬
an artist
Post-Shanshui Iconography: Wandering between geography and painting principlesYin Jinan (President of the school of humanities, central academy of fine arts)
Strictly speaking, post-landscape paintings should not be considered as paintings, but as iconography. It is no longer the traditional landscape painting per se, rather, it rejects its former definition. Ink and brush are central to traditional landscape painting imagery, executed through the artist’s spirit. In other words, it uses ink to express the values of the literati. Post-shanshui iconography has not only stopped carrying forth the values of the literati, it has also deconstructed ink painting. In recent years, there are those who have already begun to experiment in this field in China. In 2011, a contemporary Chinese art exhibition, Shanshui was held at the Lucerne Art Museum in Switzerland, and some of the artworks in this exhibition are considered as “post-landscape iconography”.
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Calabash 150x100cm x5pic2019
Screen 201712 ink on rice paper 180x95cm x 3pic
Screen 201706 ink on rice paper 180x61cm x 4pic
In someone Island
The works nearly reached a state of “void”, by which to highlight the state of “meaninglessness”.
Through vertical and horizontal expansion of space and the varying textures of his images, our imagination may also wander freely. With the works, we shall wander freely between the geography and principles of painting.
The works nearly reached a state of “void”, by which to highlight the state of “meaninglessness”.
Through vertical and horizontal expansion of space and the varying textures of his images, our imagination may also wander freely. With the works, we shall wander freely between the geography and principles of painting.