Wang Yiya Shan Nu Nian, 67.5x44.5cm Color on paper, 2021
On December 5, 2021, "Wang Yiya: Fankong Record" opened at Daqian Gallery in the 798 Art District, curated by Wei Xiangqi, Doctor of Fine Arts, Deputy Research Librarian and Curator of the National Art Museum of China. This exhibition is the latest creation of artist Wang Yiya's "Fankong Record" series, "Jialing Pingjia" series, "SiShui Fantasy Land" series and other works.
Du Songru, Director of the Exhibition Department of the China Artists Association, delivered a speech at the opening ceremony
Professor of the Central Academy of Fine Arts, doctoral supervisor, general secretary of the Party Branch of the Chinese Academy of Painting, Yue Qianshan delivered the opening ceremony
Qiu Ting, professor of the Central Academy of Fine Arts, doctoral supervisor and vice president of the Chinese Academy of Painting, delivered a speech at the opening ceremony
Young Curator Duan Shaofeng delivered a speech at the opening ceremony
Exhibition Curator, Doctor of Fine Arts, Deputy Research Librarian of the National Art Museum of China, Wei Xiangqi Delivered a speech at the opening ceremony
Wang Yaqiong, director of Daqian Gallery, delivered a speech at the opening ceremony
Artist Wang Yiya delivered a speech at the opening ceremony
Splendid Prosperity & Disillusionment Void
Wang Yiya's gongbi works are quiet and long,away, and the images of maids or phoenix crowns arouse the imagination of the viewer. As she said, "When I was a child, I was often attracted by the murals of the monasteries in my hometown, and I liked the style and interest of the Five Dynasties and two Song Dynasties." "The murals of the Five Dynasties and Two Song Dynasties still retain the style of the Tang Dynasty murals, and although their gorgeous and rich temperament has declined, the folk fireworks or decorative tastes are unique. The image of a lady or phoenix crown that appears in the exhibition travels through time and space to show the daily life of ordinary female relatives of the Song people, the bustling scene of wealth and power when dressing. But corresponding to these bustling splendid embroidery is a vain faceless figure, under Wang Yiya's silk painting, there is also a layer of paper spaced to form a shadow of the figure.
Only this extremely prosperous splendid embroidery can contrast such a strong disillusionment and emptiness.
Crown of Flowers, Reunion, 112x137cm, Silk Color, 2021
The theme of this exhibition, "FankongLu", comes from the title of Wang Yiya's series of works "Fankonglu". On the title of the painting, "prosperous" is prosperous and luxurious; "Emptiness" is emptiness, emptiness. Although each crown of queens is named after a certain empress in the history of our country, it is clear that the main purpose of the creation of the work is not in the portrayal of the identity of specific characters. The contrast between the temple's majesty, which symbolizes power, exalts interpretation and humanity, is hidden by the artist in the delicate and elaborate depictions and seemingly innocent movements of clam powder hooks. A large piece of white space is like a metaphor for the claws of slush and mud, looking at nothingness from a distance, but seeing it vividly: brilliant flowers rush upwards, exalting and stretching the ultimate brilliance of life.
Crown of Empress Gaozong, 182x142cm, silk color, 2021
Empress Dowager Taizu Crown 138x208cm Silk Color 2021
The detachment of the pursuit of man and God
In the "Records of the Void" series, there are often pavilions and pavilions, and there are often goddesses or bath orchids, boats, royal dragons, or chants and lingerings between the courtyards, where do these ancient and elegant imaginations and fantasies come from?
"From Han Fu and early texts, I have obtained a lot of references and correspondences of emotions and images." The images and landscapes of flowers, birds, and figures that appear in Wang Yiya's works are not waterless sources, relying not only on the tomb murals excavated by archaeology and the images in the paintings of past dynasties, but also on the reading of han fu nostalgia for ancient times.
The laid-out narrative in Han Fu is often a metaphor for virtual gods and ghosts. Accustomed to "the detachment of the body and the object in the lyrical arms of the pursuit of people and gods". In the realism of the concrete physical objects of reality, it is combined with mythological imagination and intertwined, resulting in the visual impression of "the treasures of poor mountains and seas, and the magnificence of people and gods".
She pours out an uncontrollable force of fate into her tireless narrative, and also depicts and renders her various colors of dreams or literature, of pain or happiness, in layers. The "complex" and "empty" illusions surrounding the female crown ornaments and the observation of passing things try to explain that wealth and glory eventually return to dust, and the fragility and impermanence of life are not full of lamentations.
Corolla Moth, 67.5x44.5cm Color on paper, 2021
Flower Crown Dust 67.5x44.5cm Color on Paper 2021
Lu Yong, doctoral supervisor of Wang Yiya's Zhejiang Academy of Fine Arts, said in his congratulatory speech:
Mr. Pan Tianshou once said: "Painting is precious and capable", which means that to push a certain artistic effect to the peak, Mr. Pan's own paintings reflect this proposition.
As for how to carry forward the tradition and carry forward the painting art of the Chinese nation, there have always been two opposite directions: one is to analyze and critically inherit like Mr. Pan, and carry forward the advantages of the ancients with a reinforced method; Another tendency, on the other hand, is to treat the traditional sloppy view as nothing more than that.
The civilization of society has developed, human knowledge is accumulated, and any kind of learning cannot become an atmosphere without tradition. In the same way, without creation, there can be no atmosphere. Only by creating on the basis of tradition can we hope to achieve high achievements! Because, the wisdom of a generation and a person is always limited!
Yi Ya's Gongbi paintings start with tradition, take the artistic conception as the first, give the traditional Chinese Gongbi flower and bird painting a new realm and want to push it to the extreme, which is very valuable in today's "diversified" development environment!
Ancients Cloud: "'The environment can seize people', and the cloud: 'Pen can seize the realm'", here, I wish Yi Ya students on the road of painting art to blossom with trees, pen realm and win!
44x33.5cm Silk Coloring 2021
Jialing Pinjia Miaoyin 32.5x44.5cm Silk Coloring 2021
Wind Moon Hairpin 44x33.5cm Silk Color 2021
Modern transformation of Chinese tradition
Curator Wei Xiangqi said in introducing the exhibition: "The young artists cooperated by Daqian Gallery have the temperament of oriental culture and present a modern transformation of Chinese tradition in their works. Wang Yiya's work does not depict the beautiful facial features of women, but a shadow, a metaphor for the void or the time and space of the past. The phoenix crown is extremely gorgeous and magnificent, symbolizing the power and wealth of the owner of the crown at that time. The juxtaposition of the two produces a disillusionment of a flower woman and a prosperous landscape.
In the painting, there are pavilions and pavilions placed in clouds, flowers and trees, which are the residences of the immortals in mythology, from disillusionment to detachment into another realm.
The exhibition will run until 23 January 2022.
From left to right: Gao Xiaoqi, owner of Daqian Gallery, Wang Yiya, artist, and Wang Yaqiong, director of Daqian Gallery
Group photo of guests
Exhibition site
Artist Profile
Artist Yiya Wang
Wang Yiya was born in Zhejiang in 1989 and graduated from the Chinese Painting Department of the Central Academy of Fine Arts with a master's degree. He is currently a doctoral student in the Department of Chinese Painting of China Academy of Art, a young painter of Li Keyan Painting Institute, and a member of Zhejiang Flower and Bird Painters Association.
Exterior view of the Grand Thousand Gallery
In 1988, Daqian Gallery was founded in LiuliChang, and the plaque was inscribed by Mr. Li Keyan. In 2016, Daqian Gallery came from Liulichang to the 798 Art District, a new center for Chinese contemporary art, and Ms. Gao Xiaoqi took over Daqian Gallery, with the mission of building and promoting a contemporary visual art system with ink painting as the core under oriental philosophy. Daqian Gallery is committed to presenting the contemporaneity of ink language, exploring contemporary interpretations of the oriental aesthetic spirit, and adhering to the first institutional agency of the Liulichang era to represent artists, supporting the growth of cutting-edge artists, linking art, commerce, fashion, life and other related fields, and contributing to the promotion of oriental modern art.
Yiya Wang: The Records of the Void
Curator: Wei Xiangqi
Planner: Wang Yaqiong
Producer: Gao Xiaoqi
Organizer: Daqian Gallery
Duration: 2021.12.05 – 2022.01.23
Opening: 2021.12.05 3:30pm
Visit: Tuesday to Sunday 10:30-18:00 (Closed on Mondays, except holidays)
Venue: Daqian Gallery DaqianGallery (No. 2, 1st Floor, Building 1-22, 797 Middle Street, Jiuxianqiao Road, 798 Art District, Chaoyang District, Beijing)