Nature outside the heart of the source -- Viewing Mianhua's canvas

When viewing Mianhua’s paintings, the brilliant hues, the intricate brushstroke and curving lines all reveal that it is created by the female’s hands. But if on closer inspection, the wild and spontaneous brushwork plus piles of texture especially on Mianhua’s big piece, fuses a kind of spirit, or to be exact, the oriental spirit that combines one’s personality and generosity. Each of her brushwork is filled with her intelligent nature with sincere, pure and primitive power that wake’s the heart of the viewers.

``Spirit’’ is one of the representative symbols in Chinese traditional culture. In fact, the word of ``spirit’’ almost occupies the whole mentality area in ancient Chinese societies, influencing the aesthetic taste and psychological movement of the ancient Chinese human landscape. For traditional ink-wash painting, the merging of ink and water has a special advantage in expressing ``spirit.’’ While on canvas, ink alters oil, and water alters oil. It is far more difficult to mirror the vividness and spontaneity of ``spirit’’ through thick colours and piles of textures. However, it is rare that Mianhua succeeds, surprisingly she conveys such message to the viewers.

I couldn’t help thinking of those mural paintings and portraits on the bricks during the Jin Dynasties. Whether the curving on the natural scene or the figures and costumes were all painted in lines smoothly. Even when depicting the similar subjects, the lines were varied in repetition. Such variation of repetition gives an airy illusion. While the brushstrokes and lines in many of Mianhua’s paintings conjure up a vivid spirit. When gazing at her works for a while, one seems to be magnetized with a kind of illusion, as if the scene on tableau is real.

Although the subject under the artist’s brushstrokes is abstract, yet it is easy for the viewers to find the trace of nature. Actually the artist culminates the beauty from life and nature. The ancient Chinese artists advocate ``It is important for one to blend oneself into the environment and create a lively prospect where well painted shapes represent profound spirit.’’ Thus what Mianhua presents to the viewers is the culmination of nature through her own eyes, leaving unlimited imagination space and interpretation for the viewers. It is even rare that the artist is able to refer to the spirit of the Western oil paintings. Her wild, uncontrolled and passionate brushwork and the smooth arrangement are not shattered or influenced by any style. The colours in her works are all brilliant and full, revealing a natural beauty with spontaneity. Maybe that’s why her works if filled with a sublime power, inviting the viewers to enter her own art world.

Mianhus prefers to use primary colours. The brilliant colours fill her canvas, which conjure up the air similar to the mural paintings of Dunhuang and paintings of the Song Dynasty. While at the same time, her work is also fused with the freedom and romance often seen in Western oil paintings.

When appreciating Mianhua’s paintings, it is akin to a journey, a journey back to the ancient China and the Western art world. It guides the viewers to shuttle from history and present. During the journey, it not only demands eyes wide open, but also the opening of ones’ heart. Mianhua’s paintings are beautiful, and so do her words. The co-existence of the paintings and artist manifest the beauty of heart. Love is forever boundless. I believe Mianhua’s paintings will win her more bosom friends who really understand art and beauty.

Zhu Chengru
The Palace Museum