Abstract work is stark and minimalistic that directly resonates with the essence of the subject. It’s xieyi, emphasises inner expression, and highlights artistry. It’s my preferred way of instinctive and authentic expression.
–Li Jin
Li Jin: From Colour to Ink
“The ink figures show a different aspect of humanity than Li Jin’s earlier colourfully rendered figures do. This is the more spiritual side: figures who are exposing their insecurities, figures resembling luohans (enlightened beings), ascetics, somewhat subdued self-portraits, and so on.
Li Jin’s ink brushwork is powerful, and at this point in his career he is in masterful control. With larger, specially made brushes, he works in a daring xieyi style 大写意作品 (freehand painting), with large sweeps of brush and ink—sometimes dry, sometimes moist, sometimes both together. The superb brushwork brings the subject alive. We become aware of the language of ink, and the fresh direction in which Li Jin has taken it.”
– Britta Erickson, scholar and curator
Vermilion Art is delighted to present for the first time Li Jin’s powerful Xieyi paintings, Tao (The Way) and An Immortal in the Bamboo Grove.
About this series – Tao (The Way) and An Immortal in the Bamboo Grove
Seven Sages of the Bamboo Grove 竹林七賢
The Seven Sages of the Bamboo Grove were a group of Chinese scholars, poets and musicians of high status and prominence from the third century CE. During a time of political unrest, known as the infamous three kingdoms period, the group escaped to the countryside into a specific bamboo grove. The hedonistic escape and advocating free living is quintessentially a kind of Taoist practice. The Seven Sages of the Bamboo Grove distanced themselves from chaotic society, instead choosing to appreciate the beauty of nature, engage in Qintan (form of Daoism; “pure conversation”), compose poetry, play music, and drink.
References to the Seven Sages of the Bamboo Grove are abundant in Chinese art and literature. The visual representations of the group gained popularity in Chinese painting and decorative arts, particularly from the late Ming (1368-1644) through the Qing dynasty (1644-1911).
Li Jin was inspired by the spirit of Seven Sages – cultivated and free. The artist reimagined the subject and with thick, expressive brushstrokes, creates monochromatic abstract works in a daring xieyi 大写意作品 (freehand painting) style with a focus on the compelling power of ink tone subtleties from interplay of water, ink and paper. The fresh direction Li Jin has been taking in recent years.”
Abstract work is stark and minimalistic that directly resonates with the essence of the subject. It’s xieyi, emphasises inner expression, and highlights artistry. It’s my preferred way of instinctive and authentic expression.
–Li Jin
