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Returning to Houston from surveying several museums and galleries in California, I chanced upon Yang Xian Rang’s art exhibition at High Art Studio, Houston, Texas. I immediately sensed the gravity in the artist’s scholarly background that contradicted the prevalent over-commercialized, cynical contemporary, abstract expressionism observed in my travels. The dozen or so paintings displayed was sufficient for the artist to speak liberally to the viewers, each piece consequentially evoking a deep reflection.
Art crystallizes from the highest form of culture, a divine embodiment of emotion, reasoning, and form. However, the turbulence of the 20th century saw Western artistic philosophies follow suit into chaos. Some held on to the essence of art, while some viewed art as an amusement. Some turned art into a catharsis of selfexpressionism, as some blurred the line between art and reality. The diverse art forms confound and distorted perceptions, becoming lost in a myriad of “isms.” With the purpose of cultural exchange between China and the West, “High Art Studio” sought to elevate the synergy of skillful expression and cultivate the aesthetic values of the heart, mind, and soul. An endeavor to exhibit works by accomplished artists from China is commendable.
After X. R. Yang moved to the United States, the placid lifestyle quieted his heart and brought to surface a nostalgic love for his hometown, which had been embedded deep within. The once common old houses, temple, towns, streets, alleys, bell and drum towers, wooden doors and windows, stone steps and clay tiled roofs, layered courtyards, pomegranate and balsamaceous, sunny northern towns, misty southern canal towns, were memories that tugged upon the artist’s heart strings and transpired into passionate works of inspiration. Within the span of two years, his inspirations culminated into a series of uniquely styled artwork, aptly titled “Hometown Love.”
The language in this group of paintings is original, unique, and stylistic. Apart from one depiction of the setting sun casting a ray of light through branches onto a wooden boat on the banks of the Yellow River, on which oarsman are cooking among traces of smoke, none of his dozens of works show images of people. Yet, in them could be sensed the warmth of a harmonious family life and a bustling street market atmosphere. There seemed to have been busy diligent housewives coming and going, children playing-even the sounds of them reciting their books, as grandmothers clutched babies while enjoying the sunshine at the doorway. There may have been vendors with bells peddling their wares, or men and women crossing the bridge. The festivity of firecrackers, the celebrations of the Dragon Boat Festival and the aroma of fragrant spices wafting through the air. There may have been wedding celebrations and laughter, or the chiming of morning bells and the sounds of sunset drums. The artist created a literal poetic scenery, enabling me to enjoy the art beyond art and see beauty from the mind’s eye. In such a case, silence is more melodious than sound and the absence of people, better than crowds, as the viewer is given liberty to fill in the blanks.
Artist X. R. Yang showed promise of artistic aptitude since his childhood. As a young man, he was gifted in both drama and music. In the late 1940s, he entered the Central Academy of Fine Arts and studied with prominent masters such as Xu Beihong, Sun Zongwei, Yan Han, Feng Fasi, Li Ruinian, Jiang Zhaohe, during which he solidified his skills in western art form. With a unique artistic spirit, he created an excellent wood prints series and later became a leader in the Chinese Woodcut printing society. He is upright in character, bold and passionate. He is one who speaks his mind, loves life and nature, and is patriotic for his country and her peoples. He continued to create artwork even under tense political movements. Whether to create epical or idyllic art, each was drawn from the well of a deeply passionate heart. His woodcut prints display a skillful yet clever use of various knifing techniques that enrich expression. In his 70 plus years of creating art, X. R. Yang came to develop and form his own poetic style.
A true artist is never satisfied merely with past achievements, rather, he is always pursuing a new art language. X. R. Yang began his study of Chinese painting in the 1960s by exploring the use of Chinese brush pen on traditional Xuan paper. He blended Western coloring techniques and woodcut prints in a layered method of painting called “Colored Painting,” resulting in a new substantial and holistic art form. The “Westbound” was a series of artwork depicting f l owers, portraits, and landscapes solely using this technique. The “Homeland” series of artwork was later developed with more lyrical freedom. His rendition of landscapes is realistic, yet the areas of detail are left abstract. This series of art shines a light on traditional Chinese residential architecture, in which the aesthetic influence of oil painting, woodcut prints, and Chinese ink and brush can be clearly seen. The use of this style was marveled among elite artists and professional art critics alike.
X. R. Yang spent a considerable amount of time living in rural farms where he discovered an appreciation for the vast richness of folk art. Here, he discovered the source of Chinese classical art and regarded folk art as the mother of all art. With an amazing amount of dedication and enthusiasm, he gave up his professorship in the Woodcut Print Department where he taught for more than 20 years. He then founded and presided for 10 years over the Folk-Art Department in the Central Academy of Fine Arts, the highest institute of fine art in Beijing, China. 14 times, he led the research team into various parts of the Yellow River basin to understand and research the intricacies of Chinese folk art. Their findings were documented and published in a colossal volume of books entitled “ Fourteen Journeys along the Yellow River .” This unique credential of unparalleled cultural immersion deepened and furthered his artistic journey, hence impacting his later works with rich cultural significance.
Traditional Chinese residential architecture is often the embodiment of ancient culture. People inherited the sagacious philosophies of harmony between nature and man, living by the natural laws of Yin and Yang and the Five Elements in their home building. Residential architecture strives to be reasonable, simple, and harmonious; such is the architecture typology that provides continuity in Chinese history. Modern revolutionaries, scientists, writers, and academics have all spent their childhood and adolescent years living in such towns and villages. Artist Yang is no exception. In his work, I find remnants of the old Yang Residence, the family business building, and the plaque hung from the living room. He articulated architectural styles from the beautiful cities north and south of the Yangtze River. These paintings carry an overflow of deep affection toward the old homeland, with a melancholy nostalgia for the soon-to-be lost folk culture. This land that birthed and raised him is undergoing an unprecedented historical transformation. As a child abroad, he prays and hopes for the betterment of his homeland through the medium of his art.
The inexhaustible supply of associative thoughts seen in Mr. X. R. Yang’s new artwork deeply resonates with this viewer from a different background; perhaps, herein lies the mystery of serious artistic aesthetics.
Yang Xueqin is a professor at Xi'an Academy of Fine Arts.
Written by Yang Xueqin On Christmas Eve in December 1998, Houston, Texas, USA
Translation by Alice W. Yang, Emily. T. Yang, Jessica T. Yang 2021 in Houston, Texas, USA
