A Spiritual Journey To Solace Liu Mingkang Collection Exhibition
【Foreword】
Only the true painter can find a spiritual journey.
In traditional Chinese culture, literature, history, and philosophy developed in the form of integration and complementation. The theory of Yin and Yang, that man is an integral part of nature, and its derived theory of materialization ran through the development of Chinese art, forming a complex and unique Chinese aesthetic system, and had a profound mutual influence with Chinese art. In order to seek spiritual comfort, since Wei and Jin Period, the traditional literati had hidden themselves in the mountains and forests. Painting had become the carrier to please themselves in their leisure life and a way of idle talk to show wisdom, so that the painters’ thoughts could reach the highest level of spirit. As the delighting function of painting, it emphasizes that the painter expresses his own emotion when capturing the natural landscape of mountains and rivers. Writing before painting requires not only the ability of painting, but also the mobilization of literati painters’ understanding of politics, literature, poetry, calligraphy, humanities and other aspects, all of which integrated in times, converging on one paper. That’s because when the cultural accomplishment has reached a certain level, it will carry the spirit of literati and is a rich visual carrier for literati to perceive and express the world.
“The painting comes into being following the brush; the scenery changes at the whim of the painter.” Liu Mingkang shows his subjective interest in his paintings, revealing a part of himself and his emotions of the moment. He guided himself as contemporary literati, knowingly reflecting his inner self, appropriately conveying his talent, character and spiritual personality regardless of his material life status. He pursues “painting to suit my mind” and presents the spiritual projection of literati's aesthetic taste.
For example, “Nordic Town”, “Tour in Angkor”, “Underpass in Beijing” and other sketches recorded the cultural atmosphere around the world, different spaces and regions, as well as different identities and different experiences. They showed the most unforgettable things from his memories. “There is Nothing I can Do about It”, “The Naval Battle of 1894”, “This Summer is So Hot”, etc., on the other hand, were fetched from history, subconsciously showing a flat feature, in which the ritual sense of symbolization and fragmentation of consciousness were greatly amplified. Consciousness and reality together became eternity in the picture. “Scene of Han Yu Driving Crocodile” and “Whistle” were reflection on life and the world around. They discussed the relationship between reality and imagination, representation and memory, revealing and exploring its unique modernity. “Hometown is the Quietest in Autumn”, “Silk Road”, and other paintings described beautiful encounters. To appreciate everything in their true nature is a respect and love for life. “It is just a spiritual journey.” There is no restraint of ethics, no repression of authority, no showy characteristic like fast food, and no vanity from playacting. Everything is the true freedom of one’s own soul.
“See the painting, see the painter.” Liu Mingkang’s paintings are permeated with the taste of literati. He has abandoned the atmosphere of literati paintings like “solitary and aloof” or “cool and fresh”. Instead of sorrow, anger, or frustration, his paintings are full of positive, optimistic, open-minded and transcendent interest of life, which are the true reflection of his sincere personality and characteristic. This is derived from his perception of life and reflection on the past. Through the works, he creates a spiritual realm from the images, conveying the spirit, following his heart, combining the meanings.
