All artists strive to evolve as their career
progresses, be it stylistically, philosophically, or spiritually. Dramatic
changes are usually a conscious effort, triggered by life events and creative
experience, but sometimes more subtle transformations are subconscious. Here,
in as few words as possible, I will try to bring attention to, what I consider
an interesting formal progression in three of the central paintings of Meiyu’s career,
namely White Camellia and Green Birds,
The Cranes, and A Solemn Pledge. What caused these stylistic changes have already
been outlined in the pages of this book.
In Camellia
and Green Birds, a single form, the camellia bush, dominates the surface.
The branches gently reach for the edge of the painting, thus limiting the sense
of spatial depth. As we explore the shallow interior of the camellia, it
becomes clear all the details have equal visual value. Every leaf, branch, and
bird is painted with the same care. The color range of the palette is measured
and perfectly accentuates the blissful lyrical atmosphere of the scene.
The subject matter of The Cranes vary from Camellia
and Green Birds where the animals among the branches were incidental to the
overall dominance of the plant. Attention has shifted from flora to fauna, but
that is not the only difference. The composition includes two separate forms,
with the two adult cranes constituting the primary shape. The composition is
more open, and, although the golden background remains primarily abstract, the
sense of spatial depth is strengthened. The color scheme, no longer
naturalistic, has been restricted to white, black, gold, and red. The
marvelously rendered feathers, taut skin, and beaks are defined textures rather
than a world of separate details. Our interest is directed to the movement of
the cranes. Their gentle interaction creates a graceful atmosphere of
tenderness and affection.
With A
Solemn Pledge the artist developed these stylistic concepts even further. The
separation of form has now evolved to a grouping of multiple forms. The
internal dynamics of the shapes remain very lively, but the details no longer
capture the repetitious multiplication of leaves, flowers, birds, or texture. Instead
the human figure, although rendered in its divine guise, has become the object
of attention. The composition has opened up, allowing the background to occupy
more than half of the painting. The relationship between the shapes has shifted,
too. Depth has been achieved with the figures of the heavenly host diminishing in
size as they recede into the background. The coloration has been reduced to a
bare minimum, and, except for the celestial, white glow of the abstract
background, every shape and volume has been created by black lines.
These three stages describe a complex stylistic
journey: From single dominant form, via separation of form, to grouping of
form. From volume of form to volume of group. From naturalistic color to en grisaille. From surface dynamic to spatial
depth. From plant and animals, to the human figure. From lyrical beauty and
profane scenery to epic and divine narrative. The consistent progression of
these stylistic changes bear witness to Meiyu’s acute artistic power. A rare
thing in our day and age.