Crossing to Bogu Yuanwei for North America to cross a “Chinese landscape”

Original title: Crossing to Bogu Garden: China Academy of Art San Francisco Special Exhibition Garden Installation Time

In China, “landscape” is not a native nature, nor is it a direct imitation of native nature. The mature “landscape” is a narrative of the human world with nature as the carrier. I call it: “the natural expression of humanity”. Today, I am going to a “Chinese landscape” in North America, and my name is that I am going to Bogu Yuanwei. This is a seemingly strange compound word, a compound stack of words, that is, an exploration of a new form of landscape and garden. Speaking of the word “garden”, my mind is not the relics of the classical gardens we are familiar with, but the whole of the patterned life of the landscape: ploughing, stream fishing, golden que, pine wind, Chinese lantern, night banquet, poetry and wine, literary meeting, whale back, pole, square pot, Yingzhou, Ruihe listening to the qin, heavy screen meeting chess, Qingxia Palace, Guanghan Palace, woodwind, fishing fire, whisking stones to be sencha, exhibition table swooping long stream, Dongshan triumph, moon in the clouds… The sum of countless afterimages and broken memories is superimposed.

The emergence of new forms stems from the overlapping harmony of these fragments of landscape life. I tried to use a new form to describe the accumulation of time, the span of size, the memory of the body… An expression of ghosting. With a strange but familiar sense of trance, sit on the layers of historical paintings, sit with the deceased, and sit with the past time.

Crossing to Bogu Yuanwei is a form of superimposed images, a form of residual memory. It is roughly a superposition of four afterimages.

Afterimage 1: Yan Mo Pingwei

It is a structured landscape, the agricultural foundation of landscape culture, the first light of the garden, and a capital letter of the character “pu”, with the smell of fireworks in the field. The beauty of the structure of farming, unobstructed, horizontal, vertical and oblique, woven into the distance one by one. “Mo on the flowers bloom, can slowly return”, across the distance established by Yan Mo a vast vision: watch the sang return, the lotus hoe morning and evening, the village children chase, the lover returns.

Afterimage 2: Bogu Courtyard Grid

The fall of Bogu Shelf is the sudden rise of the courtyard group. A group of miniature courtyard cities, like a table, leaning over can be amiable and entering, sitting and lying down. The multi-treasure lattice is a cluster of diversity. The various activities of people are a collection and juxtaposition of diversity. On the second floor, Bogu Shelf is presented in a landscape, like a dramatic summary of the traditional “courtyard city”: the atrium and the alley are visible.

Afterimage 3: Sleeping high bed

The remnants of the Wei-Jin high-bed building, a group of foundation feet. The high bed is the starting surface of the building. We can think that the architecture of that time began with a huge bed, a flat surface that could support all activities, and he was the first and largest piece of furniture in our tradition. On this huge piece of furniture that can be extended infinitely, Zong Bing talks about the “sleeping tour” of the landscape. The idea of lying in the bed as the humanistic coordinate and visualization base marks the consciousness of landscape painting. The high bed represents the view of sitting and watching while lying down.

Afterimage 4: Screen wide seat

The genes of the Nanguan hat chair we are familiar with can be summarized as “high bed screen”. The “stool” part is the high platform, which is derived from the elevation of the table: the high bed, the gate bed. The back part is a composite of the screen and the table on the table. The Nanguan hat chair is the condensation type of the “screen wide seat”, so although it is furniture, it always carries the pattern and atmosphere of the building.

This is a huge southern official hat chair, which is traced back to its genetic form. Five generations later, Chinese gradually stopped sitting at the same table, and now hopes to return to the grand scene of 1,000 people sitting together with huge sea-dunge-style seats. Therefore, he has another one, which is called a thousand seats.

Garden ferry to North America, if the ancient “immortal hammer”, a floating raft ark with natural meaning, sailed to the other side of the world. Send the spirit of the lake and mountains of the China Academy of Art “Solitary Mountains and Flat Lakes Vast and Clear”, and send the view of Chinese landscapes. Sitting with the deceased, with people from another world.

Design schematic

Exhibition view

The crowd was full

Explain and discuss