Monday, January 29, 2018

Study II - Field

Field -- Hermit, Yafei Li, ca. 2018

Tune: Sunny Sand -- Autumn Thoughts
Ma Zhiyuan, Yuan Dynasty

Over old trees wreathed with rotten vines fly evening crows;
Under a small bridge near a cottage a stream flows;
On ancient road in the west wind a lean horse goes.
Westward declines the sun;
Far, far from home is the heartbroken one.

Translated by Xu Yuanchong


Monday, January 22, 2018

Study I - Touch


Touch -- In Front of Jokhang, Yafei Li, c. 2018


The same word TOUCH, the same Tibet echoed in my mind, always -- for the first time. But this time, I know Cy Twombly and Philip Guston.

I still plan to continue making more landscape paintings this semester. I am reading Treasure of Asia - Chinese Painting by James Cahill, and going to explore "the curtain/veil in Chinese painting" along with my painting, because Tony asked me what the curtain is and I said I did not know last semester. After the class of first week, I found the curtain exists not only in ancient Chinese paintings but also in Twombly's -- compared to Giotto's. I will write all of these delighted by James and Tony every week, staring from next week. The curtain needs to be explained by many words -- like repeat/echo/hazy/integrate. I will try my best to explain them one by one not only in Chinese but also in Western. 

Tuesday, November 14, 2017

Study X - Share

Share -- Hermit, Yafei Li, ca.2017

"Hermit: If you don't have peace within you, you won't find it here."

Tony wrote this to me after the conversation on last Tuesday night. Such beautiful words, on a blank paper, absolutely is one of treasures in my whole life. 

After the studies VEIL and TIDE, in which I did two paintings of porcelains. Seems like I was on the wrong direction. I asked Tony where I am going. So we talked a lot on that night, Daqian Zhang, Helen Frankenthaler, Xiaodong Liu ... Road to Heaven: Encounters with Chinese Hermits (Bill Porter) ... Treasures of Asia: Chinese Painting (James Cahill) ... finally Tao Chi ...

I didn't realize Tao Chi during the conversation because the name is in Cantonese. In Mandarin, it is Shitao. Actually, I went to an exhibition in Beijing this summer, Painting and Calligraphic Works by the Four Monk Artists from the Permanent Collection of the Palace Museum (link as attached below). It is the first time to see so many paintings by them four together. Tony told me Tao Chi's work is highly appreciated in the west. But I really like Hongren and Bada Shanren.


On that night, I didn't fully understand when Tony said that you should let your painting free. But when I draw this painting for SHARE, I start to understand. Put them side by side. Those porcelains are too concrete and solid, and I need to pay attention to each bush, like cartoon. SHARE, mountains are free, trees are free. Even though lines of the hermit and fog are solid, feeling is free. Perhaps that is a touch of the curtain in ancient Chinese paintings.

Tuesday, October 31, 2017

Study IX - Veil

Veil -- Painting on Porcelain II, Yafei Li, ca.2017

The word "veil" reminds me the word "curtain" we talked about before. When we looked at Ni Tzan's Six Gentlemen, I asked Tony -- do you think those trees want to leave the island and go to another place? This is curtain, this is veil. Behind the curtain, everything is practical, but with the veil, they become mysterious.

Early this week, Tony shared a japanese artist Takashi Murakami with me. I start to understand Tony's words "study", "copy", "version", "pastiche". I want to make something "very very different", something creative, but I have to study first.

Tuesday, October 24, 2017

Study VIII - Tide/Regain

Tide/Regain -- Painting on Porcelain, Yafei Li, ca.2017

Peng Wei is a contemporary Chinese artist. She was born in 1974. I first know her from a book by Chen Danqing (another more famous artist in China, but more western). I said that there was a gap between modern and ancient Chinese art. However, I think Peng Wei is definitely a bridge. I like her painting a lot. Recently, I read a letter from Jiang Fangzhou (a young Chinese writer) to her.

Peng Wei's painting is beautiful, with temptation to "sink" and "fall".

As Bertolt Brecht said:" Do not start from old good things. Always choose new bad things to start with." After all, it is easier to proceed with creation from "new bad things". In the mass culture filled with loopholes, rough feelings of the times. sensitive and intelligent mind is easy to find one of the cracks, dig into it, find their own place. Just as Marcel Duchamp and DADA just seem to be another modern casual, but its birth itself is a sign of the changing times.

Old good things are daunting, first frightened, and then discouraged: not only the existing good has been depicted, and it seems that even all the possible beauty has been exhausted.

However, Peng Wei chose a difficult way: starting from old good things. I believe this is the way I want to start with in my journey. Regain from the tide of old good things.

Saturday, October 14, 2017

Study VII - Free

Free -- Mine is FREE, Yafei Li, ca.2017

That year, he was 44 years old,
but still concerned about the people, and admonished bluntly.
Finally, because of satire, offended the power, was demoted.

Who is the goose?
Snows heavy in Hsun-yang, the court's winter is approaching too.
Riverwater spawns ice, warm blood is no longer there.
Lost goose, cold, hungry, ridiculed in the market.
Demoted man, exclusive, alienated, accompanied by snow.

Who is the goose?
Where will the goose fly? Where is his fate heading to?
Flying to the war in Huai-hsi, returning to the chaos of the court.
Afraid of being shot, for soilders' feast, feathering their arrows.
Afraid to repeat the same "mistakes", for villains' food, promoting their powers.

Who is the goose?
Is he alive? Is he FREE?
Mine is alive. Mine is FREE.

-------------------------------------------------------
Here below is the Chinese text of the poem.

放旅雁
元和十年冬作
九江十年冬大雪,江水生冰树枝折。百鸟无食东西飞,中有旅雁声最饥。
雪中啄草冰上宿,翅冷腾空飞动迟。江童持网捕将去,手携入市生卖之。
我本北人今谴谪,人鸟虽殊同是客。见此客鸟伤客人,赎汝放汝飞入云。
雁雁汝飞向何处,第一莫飞西北去。淮西有贼讨未平,百万甲兵久屯聚。
官军贼军相守老,食尽兵穷将及汝。健儿饥饿射汝吃,拔汝翅翎为箭羽。

Monday, October 9, 2017

Study VI - Save

Save -- Hunting Scene from Cave 249 in Dunhuang, Yafei Li, ca.2017


Last Tuesday, looking at those Arhats, Tony asked me, "how many of your friends in China can paint this?" I said, "I don't know." Probably lots of people can do it, but they never want to do it. 

"Unlike other countries and cultures, there is not a gap in Chinese art. You always can find sources, from Tang to Song, from Song to Ming." However, I think we do have a gap, from the twentieth century to the present. In the twentieth century, the modernization in China has become blind Westernization, almost in every aspects. Nowadays in China, art students will have sketch and oil painting tests instead of Chinese ink painting and calligraphy in order to get admitted into college. Almost all Siheyuans were demolished in Beijing, and skyscrapers took place. Although China has over 5000 years of history, China is still young because of the gap. China needs to be saved.

Saving is to find the source.


I showed those Arhats and this panting to my mentor. His comment is still concise. "Keep doing it. Dunhuang murals are a very good and high starting point for you." For me, it is a great encouragement. Tony said the same words -- "keep doing it" -- before.

I walked with Natalie after the class last Tuesday. We talked a lot, architecture, painting, mentor, and Tony. Both of us agreed that Tony had a special link with Chinese art, even though he did not know that much about China. We regard him as our mentor as well. "Breathe the cold air on the mountain." With my mentor, with Tony, I never feel alone.

Monday, October 2, 2017

Study V - Meet



Meet -- Yamantaka, Yafei Li, ca.2017

"Live lonesomely with a light heart.
Breathe the cold air on the mountain."

These are the words he gave me on the day that he officially became my mentor. He said that he still could not fully understand the true meaning of it. He has been exploring, and now is the two of us together. I cannot remember where we first met, what is the first topic we talked about. Seems like we had met before. He do not need to say, I do not need to speak, we can understand. We went to Tibet, went to the desert, went to the snow-covered grassland, all together.

I took five hours to draw the Mandala. So arrogant, so excited. I wanted to show him at the first time, and wanted to know his comment. However, he only said a few words. "No detail. No patience, Color is good." Of course, compared to Tibetans, they take five to ten years to learn to draw Thangka. After that, they paint one for a few months or even a year. My five hours, what is it?

They, his family, are on the road, to Dunhuang, to Xinjiang. His son had food poisoning, and he was in hospital. "A trip, sometimes it is smooth, but also there are ups and downs. Both beauty and tribulation are parts of a trip. Now what we are experiencing are all our memories later. My son, Come on!"

Yamantaka, beats the devil, protects the kindness. Pray for my little brother. Pray for them on the road. Pray for victims in Las Vegas.

Monday, September 25, 2017

Study IV - Hold

Hold -- Arhats in a dream, Yafei Li, ca.2017

Hold -- Arhats in a dream, Yafei Li, ca.2017

Sixteen Arhats, Guan Xiu, ca.894

Last Tuesday, Tony said in the E-mail, "art is a form of faith". Recalling the previous three weeks, a man without faith has been using art to explore the power of faith. All this seems to be unconscious. People with faith maybe understand what I am doing more than I do. But I like this kind of unconsciousness. It is luxury. Art is a form of faith, and faith is a form of art. I am looking for them. I do not know where to go. I do not know if there is an end.

Yesterday, my mentor told me that he went to Dunhuang. Dunhuang has always been my dream. I want to see those ancient Chinese murals, especially early ones. He told me he loved those early murals. "Although the brush is naive and is not colorful. First time seeing it, so scared, quickly run out, calm down, go back seeing it, hold your breath, not dare to move." Perhaps this is the power of faith in painting.

This reminds me of the painting Sixteen Arhats by Guan Xiu. Tony also mentioned Arhats last week, and he asked why these Arhats' faces are so distorted. The picture he showed me is from this painting. They look like foreigners having bushy eyebrows, large eyes, hanging cheeks and high noses, seated in landscapes, leaning against pine trees and stones. They are unkempt and "eccentric". They are vagabonds and beggars who have left all worldly desires behind. "It was in a dream that I saw these Gods and Buddhas. After I woke up, I painted what I saw in the dream. So, I guess I can refer to these Luohans as 'Luohans in a dream'."

Monday, September 18, 2017

Study III - Reach

Reach -- Mandala in Larung Gar Buddhist Academy, Yafei Li, ca.2017

"Converted to Buddha, law, masters and monks
The eighth day of April, is the birthday of Shakyamuni
Kittens, puppies, piglets, lambs, calves, same as me
There is joy, sadness, fear of death"

In the afternoon, at Larung Gar Buddhist Academy, I mistakenly hit into the church. A master sat in the upper, and thousands of Lama students sat on the ground. A very young Lama boy sat besides me. He showed me his homework on his Chinese class. He wrote this poem with childish strokes, full of correction and endorsement from his teacher. He might be younger than ten. I wondered how he could write such a beautiful poem. Perhaps only this age can do it.

On the hill besides the Buddhist Academy, they built a Mandala, like a temple. Mandala is a symbol of order, contrasted with chaos. In the west, it is commensurate with heaven. A symbol of everything -- a human body, a temple, a palace, a city, a continent, an idea, a fantasy, also nothing. Fly to the heaven, from top to bottom, staring at the Mandala. Larung Gar had been cloudy for couple days. Finally it gave us ten minutes of sunshine when we reached the top of the hill.

Before painting this, I told my friends that I was going to ruin it when it was finished, like Lamas building and destroying a sand Mandala. Destroying a Mandala shows the illusory of the earth. Only the outer Mandala is destroyed. In their mind, they have learned more energy through the building practice. The power of the inner Mandala becomes more and more solid. It is also said that the works of Mandala show the life of the short-term perishable. It seems to warn us that life is long pay, short harvest, and lost pain.

However, in the moment I finished it, I did not have the courage to destroy it. I do not want to accept the short harvest, especially the pain of loss. After all, I am too helpless to destroy it, perhaps because I do not have such strong faith.

Sunday, September 10, 2017

Study II - Long

Long -- paths of the soul, Yafei Li, ca.2017

Long -- paths of the soul, Yafei Li, ca.2017

A film, paths of the soul, a documentary should be called more precisely. It was released quietly in mainland China in 2017. Almost every cinema is occupied by Transformers at that time because of huge profit. There is even no shelter for this tiny documentary. I looked for a long time and found it in a very small cinema finally.

The story was recorded in 2015, which is the year of the horse, and is also a very meaningful year for Kangrinboge, the most mysterious mountain in Tibet. A lot of people in the small village wanted to join the pilgrimage team of Nima. There were a old man, a pregnant woman, a butcher, a disabled teenager, a little young girl...... Everyone had a different story and carried their own hopes. In order to reach the pilgrimage focus, Kangrinboge, this team of eleven saints set foot on a year-long, up to 2000 miles of pilgrimage road......

No climax, no ups and downs. On this long road, they had experienced birth, illness and death. With faith, they were able to open-minded look at everything. Finally, when they saw Potala Palace, when they stood at the foot of Kangrinboge, their hearts were excited but calm. The physical torture cast a continuation of their souls, and the strength of the soul should make them bearish on the body.

In the same year, 2015, after the four years of college life, before coming to Berkeley, I decided to drive from Beijing to Lhasa, and then to the foot of Everest. Two people, one car, 6000 miles, 25 days. We met two groups of saints pilgrimaging to Lhasa on the way. They were not as rich as those people in the documentary. No tractor followed the team. Just two or three, pulling a cart to the front, going back to the beginning, kowtowed.