Taccuini ed altri dipinti – Pickwick, Lanciano, Aprile 2013
L’interazione tra scrittura e immagine
è un caso tipico di uno più uno uguale tre;
aggiunge una dimensione ulteriore,
quella del pensiero
Intervista di Simonetta Capecchi a Stefano Faravelli
***
Sofia
Someone who’s now long dead once wrote
“the world is a book,
and those who don’t travel
read only one page.”
What no one tells you
is that the book is no easy read.
There’s one thing I can say:
whatever it is that you are looking for :
beauty, salvation, enlightenment, danger,
or just to disappear
this will only be a fraction of what you find.
I’m just trying to read the whole book.
Taylor Steele 2006: “Sipping Jetstreams”
***
Dedicato a…
Claudia, amore e compagna della mia vita, per sopportare le mie sveglie “avanti grilli”, espediente di ritaglio del tempo per poter proseguire negli studi e nella pittura malgrado l’ingranagio del lavoro stritoli e comprima ciò che è amato e per cui qualche dono ci è stato dato nel “tempo libero”
Rita, che mi ha dato la possibilità di esporre le mie cose al Pickwick, un’oasi nell’oasi di Lanciano; che il mondo si riempia di circoli come il pick!
Palmar , amico prezioso e compagno nei pellegrinaggi e nelle pitture itineranti, che mi ha portato a Lanciano e con cui ho condiviso momenti belli e meno belli (come il letto di Mestre… ) per l’Italia e per l’Europa.
Sofia. Sempre nel mio cuore e nei miei ricordi.
Il maestro Azad Nanakeli, perchè le sue lezioni di acquerello ai piedi del Duomo di Firenze mi hanno permesso di accedere ad un linguaggio pittorico che pensavo, ma che non avevo mai capito come esprimere.
Mio fratello Francesco, pozzo di sapienza infinita, capace di spiegarmi i concetti più difficili in modo che anche io, testone, riesca a capire.
Mia madre e mio padre, radici della vita, che è sacra.
L’amico, maestro, fratello Stefano Faravelli. Perchè lo considero il mio punto di riferimento nell’approccio alla pittura dei taccuini a prescindere da ogni altro influsso ricevuto e che riceverò. E che stimo (a torto o ragione che mi si dia) il maggior carnettista italiano ed europeo vivente e che ho la fortuna di aver incontrato, della cui arte mi considero immeritatamente discepolo, malgrado egli mai abbia parlato di se stesso come maestro.
*** TACCUINI ED ALTRI DIPINTI
in mostra al Pickwick, Lanciano, Aprile 2013
Taccuini
1) Lijiang – Yunnan, Cina. Estate 2005. Bambina si affaccia alla porta della bottega.
2) Lijiang – Yunnan, Cina. Estate 2005. Coppia di anziani Naxi, in abito tradizionale, passeggiano lungo Dong Da Jie subito dopo un acquazzone.
3) Parco di Hei Long Tang (la sorgente del drago nero), nord di Lijiang – Yunnan, Cina. Estate 2005. Il tempio di San Qing
4) Lijiang – Yunnan, Cina. Estate 2005. Ritratto a Wing in piazza Si Fang
5) Lijiang – Yunnan, Cina. Estate 2005. Tetto e finestre delle case tradizionali Naxi
6) Lijiang – Yunnan, Cina. Estate 2005. Particolare delle decorazioni delle finestre e dei tetti delle case di Lijiang. Il pesce, oltre a simboleggiare la prosperità e la vitalità, identifica l’acqua quale linfa vitale di Lijiang e unico possibile antagonista del terribile avversario delle architetture lignee della città: il fuoco.
7) Lijiang – Yunnan, Cina. Estate 2005. Ingresso al palazzo dei Mu, antica residenza del clan elitario che governò il regno di Lijiang fino al XVIII secolo.
8) Lijiang – Yunnan, Cina. Estate 2005. Particolare dell’ingresso al palazzo dei Mu. La coppia di leoni sono i protettori dell’abitazione, e richiamano ad un’iconografia ricorrente in tutta la Cina e, sotto altre forme iconologiche, in tutto oriente.
9) Lijiang – Yunnan, Cina. Estate 2005. Interno del palazzo dei Mu. La roccia al centro del cortile come simbolo della montagna secondo la simbologia del tema del paesaggio inteso come Shan Shui = montagna acqua, ossia rappresentazione dei due poli conplementari, Yin Yang, del creato.
10) Parco di Hei Long Tang (la sorgente del drago nero), nord di Lijiang – Yunnan, Cina. Estate 2005. Il padiglione al centro del lago.
11) Regione di Lijiang, Yunnan, Cina. Estate 2009. I campi intorno a Lijiang, prima di giungere alla “Gola del Balzo della Tigre” lungo lo Yang Se.
12) Lijiang – Yunnan, Cina. Estate 2009. Ritratto di giovane proprietaria di una bottega.
13) Lijiang – Yunnan, Cina. Estate 2009. Una donna Naxi ed una Tibetana nei propri costumi tradizionali.
14) Yu Shui Zhai (villaggio dell’acqua di giada), Yu Long Xue Shan, regione di Lijiang, Yunnan, Cina. Estate 2005. L’ingresso al villaggio avveniva lungo un sentiero ed attraverso un arco ligneo custodito da due statue protettive. Si entrava a piedi. L’ingresso è attualmente stato demolito e sostituito da una via transitabile.
15) Lijiang – Yunnan, Cina. Estate del 2009. Claudia nel ristorante tibetano all’angolo di Dong Da Jie.
16) Interno di un condominio nel quartiere di Nan Li Shi Lu, Beijing (Pechino), estate 2005. Nel cortile del condominio dove avevo la mia casa-stanza in affitto per l’estate del 2005, nel tardo pomeriggio si frescheggia giocando a Scacchi Cinesi.
17) Beijing. Autunno 2010, disegno a matita ripreso dalla seconda di copertina della guida della National Geographic su Pechino, che raffigura alcune taozi (pesche), simbolo di Pechino, visione quotidiana nei mercatini allestiti lungo le vie dei quartieri di Pechino.
18) Tempio d Yuan Tong, Kunming – Yunnan, Cina. Luglio 2009. Una bambina e la nonna si riparano all’ombra di un cantuccio del tempio di Yuan Tong nel primissimo pomeriggio.
Shufa – l’arte dellacalligrafia tradizionale cinese
19) Shufa – calligrafia cinese. Carattere 术Shu – Arte. Il carattere 术 arte, rivisto e specchiato, sembra rappresentare, dal basso, 人ren – un uomo a braccia divaricate, nell’atto di emettere dalla bocca il carattere ‘ dian o zhu – goccia, unità di base è fondamentale della calligrafia cinese enormemente diffice da padroneggiare (difatti qui è errato).
20) Shufa – calligrafia cinese. Carattere 龍 Long – drago. Il carattere 龍 indica il drago quale animale mitologico, benevolo, portatore di pioggia e di prosperità, simbolo della corte imperiale e della regalità o elite politica quale garante delle medesime buone proprietà (meditiamo amaramente…) Il carattere qui dipinto in stile dell’erba è il medesimo inciso dal sigillo, nell’impressione in alto, il 1° carattere da sinistra, qui invece eseguito in stile 金文Jinwen (scrittura del bronzo) attestata insieme alla scrittura oracolare 甲骨文 Jiǎgǔwén dal II millennio a. C. Circa.
21) Shufa – calligrafia cinese. Febbraio 2005. 鸡 Ji – gallo, in occasione del capodanno cinese.
22) Barcellona, Estate 2010. La Cattedrale.
23) Barcellona, Estate 2010. La Cattedrale, particolari: le guglie, Santa Elena e la Santa Croce.
Freehand watercolors – acquerelli a “mano libera”
24) Firenze, fine Autunno 2012. Impressioni di Firenze in Autunno con foschia.
25) Firenze, fine Gennaio 2013. Impressioni di Firenze a fine Gennaio, mattina, sole.
26) Campagna toscana, Autunno 2012. Impressioni della campagna toscana di primo mattino, Settembre 2012.
27) Campagna toscana, Autunno 2012. Impressioni della campagna toscana al tramonto, fine Settembre 2012.
Altri dipinti
28) Mal di Cina
29) 节奏 jié zòu – ritmo, varietà
30) 耶稣誕生 Yēsū Dànshēng, Natività
31) 早饭zaofan – colazione
***
Taccuini e carnet de voyage
La parola “carnet” in Fracese significa taccuino, e deriva dal Francese Medioevale quernet, che indicava un gruppo di 4 fogli rilegati assieme.
L’etimologia di taccuino è poi riconducibile all’arabo كتاب taquîm che indica una disposizione ordinata, così come in ebraico il termine indica sia la somma, il numero, sia l’azione di numerare, disporre.
Approfondendo ulteriormente l’etimologia di taccuino, in accordo e grazie a Stefano Faravelli e Francesco Zamblera1, la parola araba taquîm è legata ed esprime il concetto di creazione: è l’infinito di “qawwama”, creare, letteralmente “far alzare”. Il verbo semplice è qama yaqumu “alzarsi”. La radice è qwm , così come in ebraico, dove pure vuol dire alzarsi.
Questa lunga introduzione non come pedante esternazione di sapienza ed erudito accademismo, ma per esprimere e fondare su solide basi l’impulso estremamente personale, creativo, a volte colmo di gioia ed altre disarmante e stancante, che sono alla base dei carnet e/o i taccuini che dipingo.
Nascono così i miei taccuini di viaggio, creazioni del pellegrinare in luoghi in cui non posso far a meno di dipingere, perchè penso, e penso perchè sento, che dipingere sia l’espressione con cui indagare ed esprimere il vivente.
Le pagine dei taccuini dunque ” […] non vogliono essere l’estemporaneo esercizio di un’abilità tecnica ma la narrazione della mia esperienza spirituale in un paese 2 “.
I paesi in cui mi son trovato a pellegrinare, ho scoperto che possono avere confini geografici ed essere compressi nei miei Carnet de voyage, come i carnet sulla Cina, sul Portogallo o su Riomaggiore.
I confini, alcune volte, sono focalizzazioni tematiche, e dunque l’impulso pittorico è riversato in taccuini monografici e di studio, come “Il Rotolo dei 9 Draghi” Carnet di studio su Moleskine giapponese.
Le frontiere dei miei viaggi sono anche temporali, ed il pellegrinare di ogni anno di vita lo riverso in un taccuino personale che inizia e si conclude ogni anno ” […] testimone di una ricerca e supporto di un approccio senza mediazioni alla realtà […] 3″.
La calligrafia in Cina è stata una delle prime espressioni artistiche sviluppatasi, e più di ogni altra raccoglie e sintetizza le concezioni filosofico-estetiche della cultura cinese, le cui valenze saranno poi applicate al campo della pittura. È un’arte i cui codici, sperimentati ed affinati per circa 2.000 anni, permettono di aprirsi alla creatività più spontanea, coltivando la sensibilità dello spazio, dell’equilibrio e dell’armonia compositiva.
Oggi quest’arte millenaria è ancora estremamente vitale, ed è un campo dove artisti occidentali – come Nicola Piccioli e Paola Billi – ed orientali, separati da grandi distanze ed esperienze culturali, possono esprimersi allo stesso modo analoghe esigenze esistenziali. La pratica e l’insegnamento della calligrafia permette di introdurre una nuova prospettiva interculturale, capace di far vivere in prima persona un’esperienza stimolante per un’apertura alla comprensione culturale, alla comunicazione, alla creatività artistica.
La logica di costruzione dei caratteri della scrittura cinese, a prescindere dallo stile abbracciato o di cui – come me – si tenta imitazioni, risponde comunque a regole estetiche e movimenti “strutturali” che coinvolgono il tempo e lo spazio, dando vita ad un mezzo di espressione universalmente praticabile.
Come accade per la musica, una vota appresi gli elementi di base si procede all’elaborazione di un linguaggio che diviene espressione della propria interiorità artistica.
Questi acquerelli sono dipinti senza alcun previo disegno, ma direttamente con acquerello su carta Arches, seguendo l’insegnamento del Maestro Azad Nanakeli, in uno stile personalissimo e dedito alla descrizione delle impressioni dei paesaggi della Toscana.
Sono impressioni del paesaggio straordinario tanto naturale quanto urbano di Firenze, così come vedo quotidianamento viaggiando tra Livorno e Firenze ed osservando il.
La Palette dei colori usati appartiene ad una selezione di demi godet Winsor & Newton, Sennelier, Old Holland e Shmincke, tutti della serie artist watercolors; la carta è Arches a grana fine, 300 g/m², 100% cotone (album con copertina verde).
Per raccoglierli ho deciso di scrivere sul retro di ognuno la data di realizzazione, ed un numero consecutivo. Per ogni acquerello dipingo per 30 minuti – un’oretta di lavoro.
Questo è il ritratto di una bambina tibetana dello Yunnan, e si basa sulla fotografia “Bambina di un villaggio nei pressi del monastero Songzanlin” di Gianni Limonta in “Yunnan – Cina” pubblicato nel 2000 dalla Leonardo Arte.
Lo schizzo preparatorio eseguito a tecnica mista , acquerello e matita colorata su carta da spolvero rosa, è stato selezionato per la copertina del libro “Benvenuti nel paese delle donne” di Francesca Rosati Freeman, edito dalla XL edizioni nel 2010.
Questo è anche il ritratto del sentimento personale di immensa nostalgia per la Cina, in particolar modo dei paesaggi umani incontrati nel mio pellegrinaggio lungo la porzione nord-occidentale della provincia dello Yunnan, ai piedi del Tibet. Il titolo è anche citazione dell’opera omonima di Ilario Fiore che ben descrive sintomi e sentimenti del mal di Cina.
La bambina di Songzanlin è l’incarnazione della bellezza vissuta laggiù, di volti di terracotta dalle gote arrossate dal sole, di espressioni fiere ed al contempo timorose con sguardi di perla, della festa di colori dei costumi tradizionali delle minoranze dello Yunnan, un’enorme ricchezza ed una sconfinata varietà etnica, culturale ed artistica di quella provincia ai confini dello Sichuan e del Tibet, una delle visioni più toccanti che quotidianamente rivive nei miei pensieri e nei miei ricordi di Cina.
Il monastero di Songzanlin è un complesso religioso la cui fondazione risale a circa 300 anni fa, e nella sua imponente struttura vivono dai 200 ai 300 monaci buddisti. La via per accedere al monastero è circondata da vecchi edifici fatti di terra essiccata e legno, con improvvisi lampi di calce bianca, uno sfondo unico e silenzioso in cui appaiono e veleggiano macchie porpora e rosa: i monaci al lavoro e le bambine del villaggio limitrofo dalle vesti fuxia, con copricapi sgargianti, decorati con motivi floreali, dai volti dolci e baciati dal sole, che desiderano vendere piccoli oggetti dell’artigianato locale ai visitatori. Il monastero si trova presso la città di Zongdian, conosciuta anche con il nome di Shangri-la, distante circa 200 km a Nord di Lijiang, crocevia etnico-culturale e capitale della religione Dongba e della tradizione manoscritta pittografica del popolo Naxi.
Lijiang, Zongdian ed i loro abitanti sono alcune gemme del variopinto e prezioso scrigno dello Yunnan, a sua volta parte dell’immenso tesoro della Cina. Questa provincia sud-occidentale abbraccia la più grande varietà di visioni e paesaggi di tutta la Cina, partendo dalla giungla del sud al confine con Laos e Myanmar (Birmania) e giungendo a nord fino alle imponenti montagne del Tibet, un altopiano di terra rossa solcato da fiumi imponenti come lo Yangtse, il Mekong ed il Salween.
Il volto, gli occhi, l’esplosione di colori degli abiti della bambina di Songzanlin sono il ritratto di questa abbagliante varietà e della ricchezza variopinta che ho incontrato nel mio pellegrinaggio nel 2005, al cui ritorno sono stato afflitto da inevitabile mal di Cina.
Ho dipinto questa natività su carta ed a matita colorata, ed nasce da una bellissima fotografia trovata causalmente sul web che ritrae una mamma con la propria bambina.
Vedendo quella foto, ispirato sia dai dipinti su seta di Matteo Ricci, ho iniziato a pensare e sentire di una natività che fosse ambientata in Cina.
È nato così un primo schizzo a matita acquarellabile.
Lentamente ho poi costruito il lavoro più certosino a matita colorata.
In Cina tutto ha ritmo…
Queste parole descrivono il concetto di varietà, di alternarsi e compresenze di complementari naturali tanto nel paesaggio – che non per niente è detto Shan Shui, ossia montagna acqua – quanto in tutta la vita e l’esistenza.
Ho quindi eseguito questo acquerello con la volontà di descrivere la varietà ed il ritmo della vita.
, ma quella mattina dei primi di Ottobre del 2005, appena tornato dai mesi di Pechino, con la crisi di astinenza da Baozi appena cotti sui panieri impilati, con il profumo di pane dolce, caldo del vapore succulento.
Tutto questo mi fece deviare dalla mia destinazione: San Donnino, il lavoro che m’inchiodava sottopagato ed al nero in uno spazio improbabilmente reale, e Via Pistoiese ruotava spinegendo le altre macchine e la poca gente alla fermata del 35 fin dietro la mia schiena, mentre iniziava ad avvicinarsi Via della Saggina, il cui centro per me era il Beijing Kuai Canting – rosticceria veloce Pechino, un piccolo ristorante cinese per cinesi ai confini tra i due quartieri con gli occhi a mandorla di Firenze, Brozzi e Peretola.
Lisa, in ritardo perchè aveva dormito troppo come al solito, mi sorride perché poteva sembrare che ci fossimo dati un imbarazzante appuntamento sulla porta del piccolo locale dei suoi, mentre dentro è la solita piena caciara: volti del quartiere di Nanli Shilu e di Tiantan di Pechino, indaffarati ad incartare i Luotiao fritti, a divorare Baozi fumanti, a sorseggiare zuppe calde con generose aspirate di spaghetti misti all’aria, per rendere tutto meno rovente.
Sul tavolo del babbo di Lisa, una rivista: ExChange.
In copertina un ritratto ad olio, un uomo ed una donna a cavallo, sotto dei cani, un sigillo rosso a sinistra, con Manet in 5° pagina, Modigliani in 7°, e poi quadri ad olio cinesi: è d’arte. E di muovo Monet e Renoir accanto e sotto un acquerello cinese delicato e pastellato come i capelli, il sorriso e gli occhi della bimba bionda di Renoir, e solo il veleggiare di Lisa dietro il banco e fra i tavoli mi abbaglia lo sguardo, le pagine si abbassano e mi riappaiono già voltate davanti. Anche lei si eclissa però quando vengo investito da un quadro allucinante, una scena scura, polverosa e sporca di calcina, un paesaggio umano di una dozzina di volti d’operai.
Illuminati.
Da una luce calda, che mi fa sentire voci, vedere colori, respirare odori.
Tutto in un istante,
e sono nel mezzo della colazione di quel cantiere edile, proprio come quello di Pechino, di fronte alla fermata del 15 che alle 5 e mezzo spaccate di tutte le mattine si presentava in fondo alla curva nebbiosa per portarmi a Tiantan Gongyuan.
Un soffio.
I mesi in Cina.
Gli anni di vita passati da quell’Ottobre a questo Marzo appena iniziato.
Da quella mattina ad oggi ho iniziato a desiderare, immaginare, pensare e costruire.
Questo lavoro a matita, ed altri che hanno già preso forma o che non si sono ancora realizzati, sedimentati.
Ho tentato.
Quel qualcosa che era scaturito fin da quella mattina, ed ha iniziato a muovermi nel profondo, come dal profondo di quel di dipinto che scoprirò chiamarsi genialmente 工棚gōng péng – baracca da lavoro, scaturivano qui volti e quegli occhi, ritratti di ritratti.
L’autore avrà poi un nome: 徐唯辛 Xu Weixin, ma già da quella mattina, senza che di lui sapessi niente, e lui di me, iniziammo a dialogare e cominciammo il nostro exchange, proprio come si scambiavano sguardi i volti dei due quadri della pagina accanto, quello a toni di seppia del vecchio dipinto seduto sul minuscolo panchetto nella minuscola casa-stanza, e quello sfinito, allucinato e completamente ricoperto di carbone del minatore.
Uomini.
Come me, come l’artista Weixin, anche lui un giorno nato, ad 乌鲁木齐 Urumuqi. Anche lui laureato due volte, all’Accademia di Belle Arti di Xi’an ed all’Accademia dell’Arte dello Zhejiang.
Lui, adesso, docente presso la Scuola di Arte Xu Beihong dell’Università Renmin, uno dei pittori cinesi più grandi, sicuramente il più importante dei realisti: i sui quadri mi hanno toccato.
Mi sono rimasti nel cuore e nella mente.
In quelle scene, in quei paesaggi di uomini: osservo e provo lo stesso dramma, la stessa commozione, la stessa fierezza che vedevo, seduto sul marciapiede ad aspettare il 15, negli occhi lontanissimi di quegli uomini a 20 metri da me, sguardi du cui ho visto pullulare la Pechino e la Shanghai accanto a dove ho abitato.
Come degli occhi della bambina di Songzalin, vedo in quegli sguardi la stessa luce fiera e quel senso di smarrimento e paura che mi chiede: ma che cosa sarà del mio destino?
Queste sensazioni sono la mia dannazione ed il mio tesoro.
Riesco e sono costretto a rivederle e riviverle.
Ne voglio parlare, voglio dipingerle.
I volti di questa mia matita, allora, non tanto come ritratti dei più anonimi dei più operai, ma esseri umani pieni d’umanità, individui.
I fratelli della bambina di Songzalin, tutti figli di una natività, come figli di una natività sono quelli dipinti da Weixin nelle serie ” I ritratti del vuoto” ed in “Cronache di minatori cinesi”, in cui l’artista parla di tematiche umane.
Scelgo di gettare luce radiante su coloro che sono al buio, invisibili, indistinti e trascurati.
Mi con-centro tra coloro che sono i dispersi, anche dal “si-vive” della massa anonima e della collettività.
I ritratti di Weixin ai miei occhi sono monumenti: ai loro piedi non solo mi sento ispirato, ma sono letteralmente proiettato da spettatore a protagonista, gettato ad arrampicarmi con le mani per toccare il marmo e le venature, dei volti e delle mani, la Cina quotidiana che conosco, la metafora di un mondo.
Oso.
Sfido.
Concentro il mio sguardo e le mie matite su questi eventi, sul confronto e sulla riflessione di questi momenti storici della mia contemporaneità e del mio vivere.
Pretendo.
Di dipingere ciò che provo, di esprimere quello che m’imprime, di rappresentare cosa vedo e come lo vedo: miope.
Non posso vedere confini precisi e linee nette, e non cerco di copiare, ma tento di rendere omaggio ad un capolavoro ed a realtà già raggiunte.
Se in realtà io sono già, in matita io divento uno di loro, al risveglio dopo il sonno pesante di un miliardo di mattoni.
Sono affamato, sono assetato.
Mi nutro e bevo anche di Weixin.
Mastico per riuscire ad ingerire, rumino per metabolizzare e per rivivere.
Allora mi sento, allora mi scopro: vivere ed essere, non solo esistere.
Sulla carta scura, tra uomini che mi sono vicini, tra colori di stanchezza e di polvere.
Pretendo.
Di tentare.
Di divenire tassello di un mosaico, a cui malgrado io non appartenga dalla nascita mi ha accolto ed adottato fraternamente.
Ritraggo la vita che vivo e che conosco.
Qualcosa di diverso dal chiasso di certe rivoluzioni di facce colorate ed entusiastiche.
Stefano Zamblera – 羞龍Xiulong
Sono nato il 13 Settembre del 1976 e da quando sono bambino amo l’arte, dipingere, fare modellismo.
Mi sono laureato in Egittologia all’Università di Pisa e l’anno seguente iniziai a frequentare e studiare alcune materie della laurea specialistica in Informatica Umanistica, in cui l’informatica è studiata nei suoi applicativi dedicati alle scienze umane: questa esperienza universitaria confermò circa l’importanza ed il potenziale dell’utilizzo dell’informatica all’interno dei contesti artistici, linguistici, storici e letterari. Nel 2011, avendo concluso i corsi che più mi interessavano, ho iniziato a concentrarmi anche in ambito accademico sullo studio delle orientali, passando al CDL Magistrale di “Lingue e culture dell’Oriente Antico e Moderno” c/o l’Università di Firenze.
Dopo il viaggio in Cina del 2005, mi sono dedicato allo calligrafia cinese, assieme allo studio del mandarino, della sigillografia e della pittura cinese tradizionale, adottando inoltre l’acquerello e le matite come i medium principali dei miei Carnet, preferendo la pittura ad olio per lavori di maggiori dimensioni e differenti approcci.
A proposito del mio modo di dipingere, penso che ci siano stati due incontri che mi abbiano influenzato enormemente: prima di tutto lo studio dello stile che chiamo “neo-impressionista” della scuola americana di “Cape Cod School of Art”, fondato grazie al maestro Charles Hawthorne, la cui eredità è trasmessa da Lois Griffel e dagli altri discepoli. Il secondo incontro è stato con i pastelli ad olio Sennelier, che mi hanno consentito una libertà enorme nell’espressione pittorica.
Grazie ai frequenti viaggi in Cina ho potuto incontrare l’opera di artisti tradizionali, tra cui amo 陈容 Chen Rong (1235–1262), 石涛Shitao (1642-1707) e 八大山人 Bada Shanren (1626-1705), così come di artisti contemporanei, tra cui adoro 徐惟辛 Xu Weixin (1958 ) che ho fortunatamente potuto incontrare nel Suo studio all’Università di Renmin a Pechino nell’estate del 2011.
Dal 2007 ho iniziato a frequentare l’atelier di Marzia Pieri, dove ho potuto approfindire l’utilizzo della grafite e delle matite colorate. Nello stesso momento ho potuto iniziare a studiare l’acquerello seguendo il maestro Azad Nanakeli, che mi ha estasiato con il suo stile unico e il suo medoto di utilizzare i colori “molto macinati, come il buon caffè”.
Infine (ma non per ultimo) è l’incontro con Stefano Faravelli. Iniziato da principio attraverso i Suoi Carnet di viaggio, si è poi concretizzato con l’esperienza di pittura itinerante nell’Estate del 2010 a Riomaggiore: questa esperienza ha cambiato ed influenzato il modo di pensare i miei Carnet di viaggio ed i miei Carnet di studio. Questi ultimi sono una sorta di monografie in cui dipingo e scrivo su una tematica, come ad esempio il lavoro realizzato per il Rotolo dei 9 draghi, o quello consacrato alle Piste Carovaniere del Deserto Occidentale Egiziano.
Taccuini ed altri dipinti – Pickwick, Lanciano, Aprile 2013
Two pages and the front cover-page from the Carnet of Toujours of 2013 just began.
Carnet du Toujours – 2013
In the front one, I’ve just paste a piece of chinese paper with two seals of mine and the 2013 year written with ink.
Carnet du Toujours – 2013: 二零十三年，三月，三日， 三桥船 (3rd month, 3rd day, 3 ships)
Carnet du Toujours – 2013: 二零十三年，三月，三日， 三桥船 (3rd month, 3rd day, 3 ships)
Navi alla rada di fronte a Ardenza.
This is a view of my hometown Livorno taken in Sunday sunny late morning, with soft Mistral breeze: in chinese title I played with the recurring number 3.
acabo de voltar da Lisboa, esperando para ir para Lanciano
Appena tornati da Lisbona, Clau ed io veniamo immediatamente ingoiati dall’ingranaggio impietoso della “quotidianità” e della “normalità”, ma anche se il corpo si trova – e con fatica – in certe…diciamo…situazioni, mente e spirito spaziano e, come sempre mi succede prima di un avvenimento importante sulla pittura, mi si accende una lampadina su cosa potrei preparare e dedicare al Carnet del Dono di Lanciano.
Rimango subito colpito da 2 grandi prensenze che permeano Lanciano e il Dono: la musica in tutte le sue forme, ed un’aria di tradizione che prosegue nonostante l’amaro boccone della modernità.
Inizio allora a pensare a come potrei dipingere questo arazzo medioevale che vedrò sdinaparsi davanti ai miei occhi, e automaticamente opto per una Moleskine giapponese, che criticabile per la carta quanto si vuole, ma permette di ricreare una consecutio che con altri supporti è persa, ed inoltre posso giurare che quella carta se avvezzata bene e se si è ben avvezzi alle sue “giochesse”, permette effetti che mi piacciono molto.
La presenza della musica popolare, dei canti sacri, della grande devozione che viene espressa dal paese di Lanciano stesso con il suo bagaglio artistico e storico, nonchè dalla processione in questione, mi apre una visione del carnet che fra pochi giorni andrò a dipingere come uno spartito medioevale, come un mesale miniato…
Inizio così a dipingere il suo Incipit, un omaggio a chi considero il maestro indiscusso dei Carnet de Voyage: Stefano Faravelli.
Lanciano, il Dono - Carnet on Japanese Moleskine. Incipit with miniated capital L
Venerdì 8 Settembre 2012:
羞龙跟海鹰是到Lanciano来的。。。
Clau ed io arriviamo alla piccola e bellissima Lanciano nel pomeriggio di Venerdì, ed andiamo subito a posare macchina e borse allo splendido Agriturismo La Rosa dei Venti, dove aspettiamo Marco che ci raggiungerà non appena tornato dall’aeroporto di Pescara, dove recupererà la Sighanda!
Passeggiamo con Marco e Sighanda nel centro di Lanciano, e visitiamo subito l’emozionante Cattedrale al volo perchè praticamente in orario di chiusura, dunque liberi da impegni (ah bene!!!) ci sistemiamo sui gradini di una casa di fronte all’ingresso della chiesa di Via …, ed iniziamo a dipingere il nostro primo sketch in quel di Lanciano!
Il portone e la decorazione mi ricordano la chiesa di San Giovanni Battista a Riomaggiore, e rievocano in me quel momento splendido con Stefano Faravelli, quando ci trovammo a dipingere l’entrata laterale e le sue decorazioni a piedi scalzi nella piazzetta antistante, un momento che non dimenticherò mai,
San Giovanni Battista - Riomaggiore - Carnet de Voyage 2011Lanciano, Santa Maria Maggiore - Carnet de tous jours, 2012
così come l’acquazzone che il giorno prima ci beccò mentre salivamo al castello, una corsa in sandali sulle pietre della scalinata, un dejavù enorme sia di quel momento, sia di vite precedenti quando – e sono convinto – dovetti essere uno degli uomini dipinti nelle Ukiyo-e, e Stefano il mio maestro.
Riomaggiore - Ukiyo-e - Riomaggiore, Carnet de Voyage
Le manovre di un motorino e del suo padrone per rientrare in casa sua, praticamente occupata da me, Claudia, Marco e Sighanda sui suoi scalini e sul suo perimetro…, la curiosità dei bimbi e la difficoltà di dipingere velocemente mi riportano ad una piacevole realtà, lontano dalla splendida quanto odiosa e caotica Firenze, dalla quotidianità che tutti mi invidiano, ma che non riesco proprio a preferire a questi piccoli brevi intensi momenti in cui mi sento senza nessun dubbio vivo, entità vivente esprimente.
La sera arriva veloce, e la cena buonissima la divoro!!! Mentre con Marco, Claudia e Sighanda discutiamo di pittura e di Carnet de Voyage…Dio mio!!! Quanto amo questo momento, quanto è bello vivere. Quanto è prezioso poter sedersi ad un tavolo e discutere di pittura e d’arte e poi!!! La nostra arte !!! E di pittori contemporanei vivneti con cui posso parlare…
Sabato 9 Settembre 2012:
“Há entre mim e o mundo uma névoa que impede que eu veja as coisas como verdadeiramente são – como são para os outros.”
早上 zaoshang – Mattina
Ci svegliamo abbastanza presto per poter arrivare nei luoghi dove si svolgerà la processione, dove le persone ed i rioni si stanno radunando con i loro carri decorati ed imbanditi con i propri prodotti, e così potremo iniziare a dipingere, fotografare e “respirare” il Dono prima che tutto si metta in moto.
Da qui in poi è il mio carnet e le foto che prendono parola 😀
Lanciano, il Dono - Carnet on Japanese MoleskineLanciano, il Dono - Carnet on Japanese MoleskineLanciano, il Dono - Carnet on Japanese MoleskineLanciano, il Dono - Carnet on Japanese Moleskine
下午 xiawu – pomeriggio
Il pomeriggio Marco ci porta a visitare ed ovviamente a dipingere uno dei suoi trabocchi; avevo dipinto un trabocco da una bellissima foto
Trabocco. Acquerello da foto (http://giornaledabruzzo.net) Carnet des Tous Jours 2012
e adesso con Sighanda e Clau abbiamo l’occasione di dipingerlo dal vero: impresa ARDUA!!!
Approdiamo la sera al Caffé Letterario Pickwick, un bellissimo circolo gestito da ragazzi come Clau e come me. Il circolo è diviso in un paio di grandi sale, ed è ricchissimo di libri: i miei occhi cadono immediatamente su un manuale di Skateboard preziosissimo – una vera bibbia!!! – e mentre lo afferro bramoso di scivolare con una tavola su qualcosa (saudade du surf du Portugal, saudade du Skate para Lisboa…) Clau torna dall’altra sala con in mano due copie di Surf Latino: è ufficiale!!! Noi sbaviamo!!! E chi cura la collezione di libri è un surfista!!!
Et voilà!!!
Conosciamo Rita 😀 che ha vissuto alle Hawaii, e che gestisce il bellissimo Pickwick. Queste sono le cose più belle della vita…, questi fili invisibili che sembrano unire le nostre vite in tessuti sempre più belli e sempre più ricchi.
Ad esempio…
Sarà successo quel che sarà successo, ma dall’Istituto di Wushu di Firenze io son uscito con l’incontro della persona più preziosa della mia vita: Claudia!
Da Clermont Ferrand sono uscito senza una lira, ma ho incontrato Palmar!
E da Lanciano ho incontrato un paese meraviglioso, ho incontrato la tradizione viva, ed un’amica: Rita!
3 ricchezze che né Monti né la Merkel mi posson toccare!!!
Lanciano, il Dono – Carnet on Japanese Moleskine. Incipit with miniated capital L
Venerdì 1 Settembre – Giovedì 7 Settembre 2012:
acabo de voltar da Lisboa, esperando para ir para Lanciano
Appena tornati da Lisbona, Clau ed io veniamo immediatamente ingoiati dall’ingranaggio impietoso della “quotidianità” e della “normalità”, ma anche se il corpo si trova – e con fatica – in certe…diciamo…situazioni, mente e spirito spaziano e, come sempre mi succede prima di un avvenimento importante sulla pittura, mi si accende una lampadina su cosa potrei preparare e dedicare al Carnet del Dono di Lanciano.
Rimango subito colpito da 2 grandi prensenze che permeano Lanciano e il Dono: la musica in tutte le sue forme, ed un’aria di tradizione che prosegue nonostante l’amaro boccone della modernità.
Inizio allora a pensare a come potrei dipingere questo arazzo medioevale che vedrò sdinaparsi davanti ai miei occhi, e automaticamente opto per una Moleskine giapponese, che criticabile per la carta quanto si vuole, ma permette di ricreare una consecutio che con altri supporti è persa, ed inoltre posso giurare che quella carta se avvezzata bene e se si è ben avvezzi alle sue “giochesse”, permette effetti che mi piacciono molto.
La presenza della musica popolare, dei canti sacri, della grande devozione che viene espressa dal paese di Lanciano stesso con il suo bagaglio artistico e storico, nonchè dalla processione in questione, mi apre una visione del carnet che fra pochi giorni andrò a dipingere come uno spartito medioevale, come un messale miniato…
Inizio così a dipingere il suo Incipit, un omaggio a chi considero il maestro indiscusso dei Carnet de Voyage: Stefano Faravelli.
Lanciano, il Dono – Carnet on Japanese Moleskine. Incipit with miniated capital L
Passeggiamo con Marco e Sighanda nel centro di Lanciano, e visitiamo subito l’emozionante Cattedrale al volo perchè praticamente in orario di chiusura, dunque liberi da impegni (ah bene!!!) ci sistemiamo sui gradini di una casa di fronte all’ingresso della chiesa di Via …, ed iniziamo a dipingere il nostro primo sketch in quel di Lanciano!
Il portone e la decorazione mi ricordano la chiesa di San Giovanni Battista a Riomaggiore, e rievocano in me quel momento splendido con Stefano Faravelli, quando ci trovammo a dipingere l’entrata laterale e le sue decorazioni a piedi scalzi nella piazzetta antistante, un momento che non dimenticherò mai,
San Giovanni Battista – Riomaggiore – Carnet de Voyage 2011
Lanciano, Santa Maria Maggiore – Carnet de tous jours, 2012
così come l’acquazzone che il giorno prima ci beccò mentre salivamo al castello, una corsa in sandali sulle pietre della scalinata, un dejavù enorme sia di quel momento, sia di vite precedenti quando – e sono convinto – dovetti essere uno degli uomini dipinti nelle Ukiyo-e, e Stefano il mio maestro.
Riomaggiore – Ukiyo-e – Riomaggiore, Carnet de Voyage
Le manovre di un motorino e del suo padrone per rientrare in casa sua, praticamente occupata da me, Claudia, Marco e Sighanda sui suoi scalini e sul suo perimetro…, la curiosità dei bimbi e la difficoltà di dipingere velocemente mi riportano ad una piacevole realtà, lontano dalla splendida quanto odiosa e caotica Firenze, dalla quotidianità che tutti mi invidiano, ma che non riesco proprio a preferire a questi piccoli brevi intensi momenti in cui mi sento senza nessun dubbio vivo, entità vivente esprimente.
La sera arriva veloce, e la cena buonissima la divoro!!! Mentre con Marco, Claudia e Sighanda discutiamo di pittura e di Carnet de Voyage…Dio mio!!! Quanto amo questo momento, quanto è bello vivere. Quanto è prezioso poter sedersi ad un tavolo e discutere di pittura e d’arte e poi!!! La nostra arte !!! E di pittori contemporanei viventi con cui posso parlare…
Sabato 9 Settembre 2012:
“Há entre mim e o mundo uma névoa que impede que eu veja as coisas como verdadeiramente são – como são para os outros.”
早上 zaoshang – Mattina
Ci svegliamo abbastanza presto per poter arrivare nei luoghi dove si svolgerà la processione, dove le persone ed i rioni si stanno radunando con i loro carri decorati ed imbanditi con i propri prodotti, e così potremo iniziare a dipingere, fotografare e “respirare” il Dono prima che tutto si metta in moto.
Da qui in poi è il mio carnet e le foto che prendono parola
e adesso con Sighanda e Clau abbiamo l’occasione di dipingerlo dal vero: impresa ARDUA!!!
Trabocco, Carnet des Tous Jours 2012
ahiahi – evening
Approdiamo la sera al Caffé Letterario Pickwick, un bellissimo circolo gestito da ragazzi come Clau e come me. Il circolo è diviso in un paio di grandi sale, ed è ricchissimo di libri: i miei occhi cadono immediatamente su un manuale di Skateboard preziosissimo – una vera bibbia!!! – e mentre lo afferro bramoso di scivolare con una tavola su qualcosa (saudade du surf du Portugal, saudade du Skate para Lisboa…) Clau torna dall’altra sala con in mano due copie di Surf Latino: è ufficiale!!! Noi sbaviamo!!! E chi cura la collezione di libri è un surfista!!!
Et voilà!!!
Conosciamo Rita che ha vissuto alle Hawaii, e che gestisce il bellissimo Pickwick. Queste sono le cose più belle della vita…, questi fili invisibili che sembrano unire le nostre vite in tessuti sempre più belli e sempre più ricchi.
Ad esempio…
Sarà successo quel che sarà successo, ma dall’Istituto di Wushu di Firenze io son uscito con l’incontro della persona più preziosa della mia vita: Claudia!
Da Clermont Ferrand sono uscito senza una lira, ma ho incontrato Palmar!
E da Lanciano ho incontrato un paese meraviglioso, ho incontrato la tradizione viva, ed un’amica: Rita!
3 ricchezze che né Monti né la Merkel mi posson toccare!!!
Réflexions sur Venise: étude et revisitation de “Crépuscule sur l’île de Murano” du Thierry Duval, en Thierry Duval – Acquarelles, 2011: 21
Réflexions sur Venise: étude et revisitation de “Crépuscule sur l’île de Murano” du Thierry Duval, en Thierry Duval – Acquarelles, 2011: 21
This watercolor I’ve painted both as a study of Master Thierry Duval “Crépuscule sur l’île de Murano” in his book “Acquerelles” of 2011, and as an impression of lights and reflections I could observe in Venice in my last trip of the just passed week.
Last news I had from the friend Andrea Longhi was about my Carnet focused on the Scroll of the Nine Dragons, a Carnet of study consacrated to the masterpiece of 陈容 Chén Róng.
Here follow the presentation I’ve written for an eventual future edition of the Carnet.
The scroll of the nine dragons
The scroll of the nine dragons by 陈容 (traditional Chinese 陳容) Chén Róng (1210 – 1261) has to be considered as one of the most most important sample of Chinese scroll-painting and one of the masterpiece of Chinese art.
Since 1917 it is preserved at the Museum of Fine Arts, the scroll is perfectly preserved, and is painted ink on paper with some touches of deep-red pale ink.
The composition is completely overlooked by the glorious figures of the nine dragons, twisting and winding among clouds and waves. At the beginning of the scroll a dragon appears over a waterfall, a part of his body is hidden by smoky mist. The dragon size the hill by its sharp claws, facing ahead he seems chasing another dragon which it’s just throwing himself among clouds and mist, swiping the air with his tail.
The third dragon is depicted with his face in full view, is climbing over a hill.
Coming from left, the fourth dragon has just sized a pearl, is coming out from the water, provoking turbulent waves and twisting clouds.
Beside appear two other older dragons, one with horns extremely tined and the other with hoary head; they are chasing each other in a circle movement.
Most part of the seventh dragon’s body is dipped into the wiping waves.
Finally the eighth and nineth dragons appear facing each other. The former seems to leaping toward the latter two, while stepping his body on a rock-hill, while turning back the head looking for his encroacher.
Thanks to such balanced composition, the dynamic action of the dragons is taken to an end, as this masterpiece reach a pacific and quite resolution. The brushwork suggest to the viewer the idea of a dramatic beauty and a rhythmic movement on an universal scale.
Two inscriptions of the author and other sixteen calligraphies by an emperor, officials, scholars and Taoist priest are added to the panting, moreover there are many seal-stamps belonging both to the author of inscriptions and to collectors. In this copy such seals are replaced by the author’s seal-stamps, while the original are afterwards classified and studied.
Of the two inscriptions by Chen Rong, the shorter is a memorandum written at the beginning of the painting and chronologically after the scroll-painting was finished:
“The Picture of Nine Dragons was painted in the spring of Chia-ch’en (corresponding to the year 1244) . This scroll has come back into the possession of my son-in-law Hsien Li. Does not a divinely inspired thing surely find its allotted place? “
The longer inscription, in verses, is contemporary to the brushwork, and it’s made by some legends focused on dragons:
“ A real dragon stole a glance at the engraving at Ch’u;
In Chin-ling, two dragons flew away when the pupil of the eye was added.
When Chu-liang had already become an immortal, Chang followed him;
How ashamed was Liu Tung-weih when laughed at by the dragon couple!
The eight scrolls of Wu dragons were not worth hanging.
When drunk I spit the painting from within.
And the waves of Lung-men (the Dragon Gate) , or of San-hsiak (the Three Gorges) are like mountains,
Sending great roars from the depths into heaven.
The flying dragon appears from the gorge and flies toward the river of spring;
The force of Chiu-ho (the Nine Rivers) does not subdue him.
A dragon is like a Ch’ih-mum (Red-leaf) on the Tien-cheihn (Pond of Heaven) ;
The fungus aroused the land of mist and cloud.
Again, the goddess Ch’i-n has been punished by Chün-t’ien (the Lord of Heaven) ;
Lei-kung (the God of Thunder) struck mountains, and heaven and earth were black.
The glistening jade dragon rubbed scales against inaccessible cliffs;
(Dragon-like) big newt, he seems to avoid the visitor from Yang-ling.
The golden snake (lightning) flashed when the dragon awoke from his snoring;
His sharp-rising horns became Hai-men (the Gate of the Sea) .
His grinding teeth and sharp talons grasped the bright moon;
The dance of Tien-wu (the God of Sea) shook the base of heaven.
Over the thunderheads, the dragon taught his sons to make lightning;
The oldest dragon was in the fifth picture.
Two dragons relieved the people during the year of drought;
In the night the horse’s mane turned over the Tien-p’iao (the Ladle of Heaven) .
The warm waves of peach blossom time had reached the third level (of the Mount Kcun-lun) ;
Who dares to climb Yü-men, the most hazardous place?
Blue whiskers and deep red beards grew when fire was burning off their tails;
Thunder of the tenth month followed them as they fled upwards.
The Marquis of Shu slept peacefully in Nan-yang Wu-(hsiang) ;
All the figures were painted as strange and old.
They saved their superhuman strength waiting for the future;
In the world the people prayed for the heavy rain.
So-weng (Chén Róng) painted the picture of nine dragons.
His wonderful brushwork was unequalled in this world.
Looking from afar, cloud and water were like flying movement;
So that one feels it was done by the hand of a god.
Lung-kung from Hsüan-ch’eng had nine sons;
All of them entered the old man’s picture.
Who will paint two cows for me?
Do not put the golden bridle on one of them.
The colophon of the Picture of Nine Deer was written by Fu-weng; and the Picture of Nine Horses was praised by P’o-lao. Nevertheless, So-weng’s dragons are neither like deer nor horses. How could I dare to follow in the footsteps of Master Su and Master Huang ?
I simply put this down to record the year and the month.”
As according to Chinese custom about some addiction into original scroll-painting, an additional length of paper was inserted; it could be hypothesized that the painter, the owner or simply the critic evidently felt free about a certain freedom to the possibility of writing and signing by their seals-stamps directly on the painting or on any other part of the scroll.
Usually such addictions have some documentary value, as for instance they could be used to evince the relative merit, or even the authenticity of the masterpiece. The scroll is thus accompanied by six praises prayed by people of XIV century, mostly Taoist.
1. Written by Tung Ssŭ-hsüeh, contemporary to the artist. His original name was Tung Ssŭ kuo, from Chekiang province. After the destruction of Sung dynasty he converted and became Taoist monk. The eulogy was written in 1306:
“ In the year of hsin-yu (corresponding to the year 1261) , So-weng painted the Picture of a Pair of Swords for Han Hsinal of Tung shan at twilight, in the Garden of Nine
Streaked Pines; it was excellently done. In the tenth year of Ta Te (corresponding to the year 1306) I saw this scroll during a banquet at Yü-t’ien. Its brush work yields nothing
to the painting given to Han (Hsin). Written by the Mountain Man of Lao-chün, Tung Ssŭ-hsüeh.”
2. Composed by Chang Ssŭ-ch’eng, progeny of Chang Tao-ling (34 – 156 d. C.), author of painting of dragons and calligrapher, during XIV century he had become a chief Taoist priest. Eulogy is dated to 1331 year and is written in verse:
“ Hsüan-yün (Music) and Fo-mo (Painting) are called Tien-fen (the Winds of Heaven).
Thunderhead and lightning bolt drive away Lei-kung (the God of Thunder).
Yü-ssŭ (the Genius of the Rain) is busy;
Yüan-ch’i (Constitution of the Universe) is dripping.
Who would be the hero when the universe be comes transformed?
The strange lightning shines when two dragons exert their strength.
They are twisting and turning toward the west?out beyond the heavens.
Mountain rocks are destroyed when one of the dragons awakes.
The sound of his rubbing against rocks conceals the thunder.
One of the dragons does not struggle, but the others rush on.
They look for the Sui pearl and spring up on the bright moon.
The hoariest dragon is the one in the middle.
He enjoys himself leading his sons around in a circle.
One dragon comes out of the water showing his horns.
White waves, like mountains, reflect the sky.
One of the dragons flies up to the great emptiness.
Tien-p’iao (the Ladle of Heaven) has overturned to relieve the dried-up land.
The last dragon is at leisure,
Turning back his head as though he wished to return to dive into the deep sea.
Different styles have been shown by their gamboling and turning around.
Oh, he is not a dragon, how could he know the dragons so completely!
After (Liu) Tung-wei and (Chang) Seng yu had passed away,
The relations with the spirits of a thousand years have been continued by So-weng.
In appraising dragons one should not judge by details (scale and bristle).
The wonder should depend on the spirit.
The transmutations of Chiu-yang should be understood thoroughly.
How could people store them in a box?
I worry that thunder be followed by darkness.
One day they would disappear into the vast emptiness.
Written by Tien-shih (Grand Master) Tai yüan-tzŭ (the Elder Son of Heaven)
second year of Chih-Shun (corresponding to the year 1331), the first month of spring.”
3. Written by Wu Ch’üan-chieh (1269 – 13509, a powerful Taoist priest, active at the beginning of the XIV century; he was born in the district of An-jien, Jao-chou prefecture of the province of Kiangsi. The praise has not any date.
“Sky falling in thunder and rain;
Ink spilled like fire and lightning.
When the time came for untied clothes and (ink) to be spread far and wide,
The spirit had to listen to whatever he said.
Wind and cloud are made by falling snow;
In the twinkling of an eye, he flies away for a thousand Li
Ch’ien-yüan was assisted by Yung-chiu,
As the dragon studied with Lao-tzu.
Written by Hsien-hsien-tao-jen (Leisure Taoist) Wu Ch’üan-chieh.”
4. Composed by Ou-yang Yüan (1273 – 1357), Yüan dynasty scholar and official, active into the College of Han Lin, specialized in preparation of official state documents. He was dignified as Duke and canonized as Wen. His eulogy is in verse:
“Ch’ien, Yang and Liu-yao;
only Yang was solid;
The name, Six Dragons, resembled the dragon nature.
The connection between Ch’ien and Yung-chiu had been transformed by the god’s strength;
That is how in later years the Nine Dragons name appeared.
Ma-shih of Southern Lake followed this transformation;
His body, like a column, became tied by the eight dragons.
What grand and magnificent brushwork is here!
The Hall of Thunder and Wind are painted again.
(Signed) Ou-yang Yuan.”
5. Written by Chang Chu (1287 – 1368), scholar and official, author of the chronicles of Liao, Chin and Sung dynasties. As chin-shih into the Han Lin College he was holder of other high officials. As he achieved high distinctions by his poetry, he had written on this scroll a long poem in verse:
“ The Picture of Nine Dragons was shown to me by an immortal;
I understood that it belongs to the Lei-t’ien t’ang (the Hall of Thunder and Lightning) .
The Po-sang-chien paper is thirty ch’ih long;
Each dragon painted as strange and tortuous.
They turn about over gorges and broken cliffs;
The deep sea has been swallowed by the rest less waves.
They seize the Li pearl and struggle to reflect its splendor;
They stir up waterspouts when they weave in and out.
One flies to the moon (together) with his son,
With a hanging head returning to Pan-yu Cave.
Such grand brushwork, the transmutations endless;
Never before have the true bones (appearances) been realized.
Few people understand what I have seen in my lifetime;
I would not dare to be careless, because this painting is related to the spirit.
Ch’?n Jung knew how to control the dragon, even if he was not an immortal;
Who would be able to hide them in their baskets?
For the thunder would come through the walls
To tread with the bright sun and fly away with the wind.
When Kao Tang’s book was opened, hundreds of monsters escaped;
After looking carefully, mist and rain are felt.
Seng-yu did not like Tung Yü
In the late years no one could be compared with him.
At the beginning, he made rain to cover Chiu t’u
Oh, how grand a sense of duty he had!
This spirit is just what men should have in their work;
When (the dragon spirit) appears it sweeps away stupidity.
How can people constantly play with colors;
And waste away their energy painting grasses and insects?
Signed) Chin-ning (Yunnan province), Chang Chu.”
6. Written by Wang Po-i, born in Chiang-ning in the province of Kiangsu, active during the last part of the XIV century. Inscription was made at the end of 1380 year:
“ Originally the dragon was a spiritual thing,his body was pure Yang so his transmutations were limitless. The painter had to use the meaning of Ch’ien-yüan yung-chiu and the highest point of Yang to form a spiritual thing to frighten living beings. Because of the appearance and disappearance of his transformations, no one dared to steal a glance when the flying dragons were in the sky. What a
wonderful manner was used for these true spirits! That is out of the imagination. Don’t let them break through the wall and escape into the water; it does happen sometimes.
Po-i saw this scroll in the tenth moon of the year Keng-shen of Hung-Wu (corresponding to the year 1380). (Signed) Chiang-ning (Kiangsu province), Wang Po-i.”
Such six prayers, together with the two autograph calligraphy of the artist, also evince the conception of the Chinese dragon as a symbolic, glorious image, genius of force and a divinity. Moreover, in China, the dragon is a benevolent animal, not connected with bad or obscure powers. It is linked to fertility and rain, the genius of water, especially invoked during times of drought or flood. Moreover, because of its life-giving powers and benefits, it was directly linked to the good-administration activities, thus the figure of the dragon was directly elevated to symbolize imperial dignity.
Thought for our culture the dragon is considered as a purely emblematic manifestation as a product of fantasy, according to Chinese traditional culture it was absolutely considered as a real and natural being.
According to Erh-ya-yi, written by Lo Yüan (1136 – 1184), the dragon is the king of all the animals. He also quoted about Wang Fu description of the dragon as a being which have other nine animals semblances:
“the head like a camel (extended), horns like a deer (long), eyes like a hare (protruding), ears like a cow, neck like a snake, belly like a sea-serpent, scales like a carp, claws like a hawk, and feet like a tiger. It has eighty-one scales on its back, nine times nine, the largest positive (Yang) odd-numbered digit; it makes a noise like the rattle of a copper tray; it has a mustache and whiskers; it has a pearl under its chin; below the neck it has a reversed set of scales; on the head it has a protuberance called Po-shan or Ch’ih-mu; without this knob it cannot ascend the heavens. Its out-breathings form clouds which change into either water or fire.”
For many centuries, there have been reports and records which tell us that the dragon is a mythological animal, a symbolic figure and a metaphysical concept. In Chinese Art the dragon could be considered as one of the most important motif, a mystic, fantastic being, inspiration and cause of marvel and awe-fear, swift like the lighting and strong as the storm-wind. Appearing among clouds and mists, the dragon is visible just to the keen-eyed and enlightened minds opened to the widest spiritual forces of nature.
Along the top of the painting there are two inscriptions written by the Emperor Ch’ien Lung (1711 – 1799), the fourth emperor of the Ch’ing dynasty, and according to his words is possible to date the calligraphy to the year 1767:
“In the later spring of ting-hai, I, the emperor, ordered Chin T’ing-piao (ca. 1767, a court painter) to make a copy of this scroll. The spirit was more or less like the original. So I had to write at the beginning and at the end.”
Moreover, at the end of the brushwork, there are eight verses composed by an high official of the Ch’ien Long court, as he adapted in verse the inscription of his emperor, and he sealed his inscription by his seal-stamp at the end of the verses.
Yin Chi-shan (1697 – 1771) , a member of the Manchu Bordered Yellow Banner. He became a chin-shih in the year 1723 and was made a Grand Secretary in 1764. The emperor praised him not only as an able administrator but as one who was kind and broad-minded;
Liu T’ung-hsün (1700 – 1773), a native of Chu-ch’eng of Shantung province. He served twice as Chancellor of the Han Lin College and also served as Director General of both the State Historiographer’s Office and the commission to compile the catalog of the Imperial Library;
Yü Ming-chung (1714 – 1780), native of Chin-t’an in the province of Kiangsu. When he was twenty-four, he became a chin-shih with highest honors, and was made a first class compiler of the Han Lin College. He was constantly with the emperor on tour or in the capital, and many important policies of the middle Ch’ien Lung period were decided by the emperor in accordance with his advice;
Tung Pang-ta 1699 – 1769), a native of Fu-yang in the province of Chekiang. In 1747 he was appointed sub-chancellor to the Grand Secretary and later, among other positions, he was made the President of the Board of Ceremonies. As a painter he won high recognition;
Ch’iu Yüeh-hsiu (1712 – 1773), native of Hsin-chien in the province of Kiangsi. He became a chin-shih in 1739. His principal activity was the superintending of flood control in eastern Honan, western Shantung and northern Anhwei provinces;
Wang Chi-hua (1720 – 1776), a native of Ch’ien-t’ang, province of Chekiang. He became chin-shih in 1745 and later was made a Minister of Revenue, and a Chief Director General of both the State Historiographer’s Office and of
the commission to compile the catalog of the Imperial Library;
Ch’ien Wei Ch’eng (1720 – 1772), a native of Wu-chin of the province of Kiangsu. He became Chin-shih in 1745 with highest honors and then was appointed a Han Lin compiler of the first class. He was a master both of calligraphy and
painting;
Ch’en Hsiao-yung (1715 – 1779), notable critic and calligrapher. He served at Ch’ien Lung’s court and participated in the compilation of the Hsi-ch’ing ku-chien an illustrated and annotated catalog of 1,529 bronze utensils, and other objects of antiquity, preserved in the
Imperial Palaces.
We have very few information about the life of Cheng Rong. He’s registered in the work compiled in 1580 by Hsü P’u entitled “ Min-hua-chi” as disciple of Kung-ch’u Master, born in Ch’ang-lo (today Min-hou district, province of Fukien). He had passed the chin-shih exam in the second year of Tuan P’ing ( 1235 ), thus he entered in the government with a rule into the Department of Education; later he became Prefect of the district of P’u-tian in the province of Fukien. He gained a very high individual reputation for his integrity and for his abilities as scholar and painter, specialized in paintings of dragons.
His brush-works dedicated to dragons seems to represent the transformation of their spirits. He painted clouds among which the dragons flying adopting the so-called spilled ink
style and splashed ink over the area of mist and breaking waves apparently by snapping the brush so that ink-spots scattered on the paper. When he was drunk, he shouted aloud, took off his cap, dipped it into ink and then aimlessly smeared and rubbed with it, making a rough picture which he afterwards completed with the brush. Sometimes the whole figure of the dragon was shown, sometimes only a leg or a head. The dimly defined shapes were beyond description, almost inconceivable, yet truly divine and mysterious.
When he painted pine and bamboo, he adapted Liu Ch’eng-hsüan’s (Liu Kung-ch’üan, 778 – 865, an official and calligrapher of the Tang dynasty) Iron Hook Manner (brush-strokes like iron hooks). His paintings were regarded as masterpieces in the days of the reign dated Pao Yu (1253 – 1258). Toward old age, his brush manner became more and more simplified, concentrated and wonderful. His paintings which have touches of deep red color are comparable to Tung Yü’s work.
Moreover we know that Chén Róng’s famed dragon paintings were regarded as masterpieces even in his own day. We also know that his technique in the art of painting is somehow different from most of his contemporaries. If we examine this scroll carefully, we will be able to find some traces made by the impression of cloth appearing throughout the picture (mostly along the edge of the dragon figures and the clouds).
Evidently, Chén Róng used cloth as one of his instruments for pictorial representation. When he painted he made a rough sketch with some kind of cloth, or even with his own cap. Then he completed the picture with brush and dark ink
in strongly defined wrinkles for figures, clouds, water and rocks, which gives the picture its distinctive quality, modeling and texture.
The picture also shows that the master’s brush-work has a combination of rhythmic beauty and powerful strength. The motifs which appear in his picture, such as dragons, rocks, and waves, suggest a sense of life-motion.
The style-analysis of the artist’s brush-strokes evinces different type and techniques: among rocks and cliffs, the Small-axe Wrinkles or Hsiao-fu-p’i ts’un have been employed by the artist. The effect of these strokes is of faulted angular rocks. This type of ragged stroke is only produced when the brush is dragged sideways. On the chins of these dragons is found a type of sharp-headed dot or short-pointed strokes that we may call Sharp-headed Dots or Chien-fou tien also Nail Wrinkles or Ting ts’un, which are made by the tip of the brush. They can be produced by a broken or old, worn brush. The effect suggests an irregular texture suitable for the appearance of a dragon.
Among the figures also appears brushstrokes made by the dragging of an oblique-hold brush-tip, while the exit of the brushstroke is made by the side of the brush, a style named Che-tai ts’un, as especially refined and delicate are the brushstrokes which depicted the head of the hoary-dragon, within is clear the sense of variation and continuity of the movement.
The same style is adopted also in painting vortexes and waves, produced by the movement of the dragons; here ink is directly sprinkled on paper, expressing the foam of the wiping-out waves, phase of painting executed at the end of the brush-work.
According to Chen Rong words, this painting was in the hands of his son-in-law Hsien Li; unfortunately we know nothing about this possessor. According to Hsien-chi Tseng (1957) it could be supposed that, for some reason this painting passed into the possession of Taoist priests during the fourteenth century. For the names connected with the painting during this period are all, not unknown, Taoist figures. During the seventeenth
century, it became the possession of Keng Chao-chung (1644-1686), a member of the Chinese Plain Yellow Banner, who married a daughter of the prince of the imperial family of the Ch’ing dynasty. He was a notable collector of the early Ch’ing era. During the second-half of the eighteenth century, this painting was presented to the Emperor Ch’ien Lung, and he passed it on to his son Yung-yen (1760-1820), who became the fifth emperor of the Ch’ing dynasty in the year 1796, under the reign-title Chia Cheing. Before the scroll came into the possession of the Museum, it was in the collection of I-hsin (1833-1895), the first prince Kung, who was the sixth son of the Emperor Hsiian Tsung (1782-1850).
Below are studied and listed the original seals, as appearing in the following plate and according to their chronological order. The seals of the author of the copy is finally listed in the order they appear both in his painting and in the dedicated plate.
Original seal-stamps
Original Seal-stamps – 1
A. Chén Róng
1. So-weng: one of the given name of Chen Rong
B. Chang Ssu-ch’eng
2. San-shih-chiu-tai t’ien-shih: 39° generation of the Great Master
3. T’ai-hsüan-tzŭ: the elder son of the heaven.
C. Wu Ch’üan-chieh
4. Ch’üan-chieh
5. Chih-shih-yen: the words for a peaceful era.
6. Ho-hsi wu-tzŭ: one of the given name of Wu Ch’üan-chieh
7. Jao-kuo-shih-chia: an old and honorable family of Jiao-kuo.
D. Ou-yang Yüan
8. Kuei-chai shu-yin: one of the given name of Ou-yang Yüan
E. Chang Chu
9. T’ing-feng-yü chai: a Studio for Listening to wind and rain
10. Hsian-ling chang-shih: Chang family of Hsian-ling
F. Wang Po-i
11. Po-i
12. Ch’ien-ch’ing k’an-k’un wu-li: one of the seal of Wang Po-i
G. Keng Chao-chung
13. Tu-wei keng-hsin-kung shu-hua chih chang: seal for calligraphies and paintings of Tu-wei Keng Hsin-kung’s possession. Tu-wei is a title of sixth and seventh orders of nobility of the Ch’ing era. Keng Chao-chung, a notable collector and official of the early Ch’ing dynasty.
14. Hsin-kung chen-pi: very valuable article of Hsin-kung. Hsin-kung is one of Keng Chao-chung’s names.
15. P’o-hai-chu-jen chen-ts’ang (repeated 4 times): a precious possession of Master P’o-hai. P’o-hai is one of the name of Chao-chung.
E. Emperor Ch’ien Lung
16. Ch’ien-lung yü-lan chih-pao: a precious thing for His Majesty Ch’ien Lung’s inscription.
The seal often appears among paintings and specimens of calligraphy of the Imperial collection..
17. Wu-fu wu-tai t’ang ku-hsi t’ien-tzŭ pao: an emperor is seldom like antiquity and has a hall of five blessings and five generations.
18. T’ai-shang huang-ti chih-pao: a precious thing of the Super Emperor.
19. San-hsi-t’ang ching-chien hsi: an Imperial signet of essential inspection at the Hall of Three Rarities.
20. Shih-ch’ü pao-chi: a treasury book case of the Library of Stony Gutter. The name of one of two well-known catalogs of paintings and calligraphies which were preserved in the various halls of the Emperor Ch’ien Lung’s palace. The catalog, a work of 44 chüan, was commissioned in 1744, completed in 1745, and first printed in 1918.
Original Seal-stamps – 2
21. Pa-cheng-mao-nien chih-pao: precious thing of an old man who has eight evidences to remember.” Pa-cheng or Eight Evidences are Ku (reason) ; Wei (to be) ; Te (to obtain) ; Sang (to lose) ; Ai (to pity) ; Lo (joy) ; Sheng (living) ; Szu (death). The term is originally from Lieh-tzu, Chou-mu wang. The seal was made between the years 1796 and 1799.
22. I-tzu-sun: it is right that my posterity.
23. Ku-hsi t’ien-tzŭ: an emperor whose like was seldom seen since antiquity.
24. Shih-ch’ü chi-chien: second inspection by the Library of Stony Gutter. After Shih-chü pao-chi, two supplementary catalogs were written. The first supplement is entitled Shih-ch’ü pao-chi, a work of 88 chüan ordered to be compiled in 1793, but never published. The second supplement (san-pien) of 108 chüan in 1817 also has never been published.
25. Ch’ien-lung chien sang: enjoyed and appreciated by Ch’ien Lung.
26. Yü-shu-fang chien-ts’ang pao: an inspected and possessed precious thing of the Imperial library.
27. Ch’ien: Heaven. The first character of Diagrams (bagua), means, Heaven; a circle; a ruler; a father; jade, etc., also it represents what is great and originating, penetrating, advantageous, correct and firm. The first character of Hung li’s (the emperor) reign-title.
28. Lung: The character represents prosperous, generous and magnify. The second character of Hung-li’s (the emperor) reign-title.
I. Emperor Chia Ch’ing
29. Chia-ch’ing yü-lan chih-pao: a precious thing for His Majesty Chia Ch’ing’s inspection.
J. Yin Chi-shan
30. Yung-ko Sheng-shih: singing songs for the prosperous era.
31. Ch’en yin chi-shan: Your servant, Yin Chi-shan. The seal used only for addressing the throne.
K. Liu T’ung-hsün
32. Hsün: the second character of Liu T’ung-hsün’s given name.
33. T’ung: the first character of Liu T’ung-hsün’s family name.
L. Yü Ming-chung
34. Ch’en yü ming-chung: your servant, Yü Min-chung. The seal used only for addressing the throne.
35. Hua-hsuen kuei-hsin
M. Tung Pang-ta
36. Ch’en Pang-ta yin: Your servant, seal [of ] Pang-ta. The seal used only for addressing the throne.
37. Jan-han: Imbued with brush-tip
N. Ch’iu Yüeh-hsiu
38. Ch’en ch’iu yüeh-hsiu: You servant Ch’iu Yüeh-hsiu. Used for addressing the throne.
39. Ching-shu: inscribed with respect.
O. Wang Chi-hua
40. Ch’en: your servant. Formerly used by civil officials of themselves at the beginning of their given names when addressing the throne.
41. Chi-hua: the name of Wang Chi-hua.
P. Ch’ien Wei-ch’eng
42. Ch’en ch’ien-wei-ch’eng: Your servant, Ch’ien Wei-ch’eng. Used for addressing the throne.
43. Jan-han
Q. Ch’en Hsiao-yung
44. Ch’en Hsiao-yung: Your servant Hsiao-yung
45. Ching-shu: inscribed with respect.
R. I-shin, the Prince Kung
46. Kung ch’ing-wang chang: seal of the first prince Kung.
Author’s seal-stamps
Xiulong Seal-stamps – 1
S. Xiu Long, author’s Chinese name
47. Xiu Long: the name written in Jiaguwen, engraved by Nicola Picchioli, November of 2006
48. Xiu Long: the Chinese name of the author written in Bronze ideograms, engraved by Nicola Picchioli, November of 2006
49. Xiu Long: the name in traditional regular ideograms, engraved in Lijiang by unknown artisan, August of 2009
50. Xiu Long: the name, written in Hanyin style, engraved in Shanghai by unknown artisan, July of 2009. The decoration I’ve taken from an imperial seal-stamps watched in Shanghai Art Muesum.
Last news I had from the friend Andrea Longhi was about my Carnet focused on the Scroll of the Nine Dragons, a Carnet of study consacrated to the masterpiece of 陈容 Chén Róng.
Here follow the presentation I’ve written for an eventual future edition of the Carnet.
The scroll of the nine dragons
The scroll of the nine dragons by 陈容 (traditional Chinese 陳容) Chén Róng (1210 – 1261) has to be considered as one of the most most important sample of Chinese scroll-painting and one of the masterpiece of Chinese art.
Since 1917 it is preserved at the Museum of Fine Arts, the scroll is perfectly preserved, and is painted ink on paper with some touches of deep-red pale ink.
The composition is completely overlooked by the glorious figures of the nine dragons, twisting and winding among clouds and waves. At the beginning of the scroll a dragon appears over a waterfall, a part of his body is hidden by smoky mist. The dragon size the hill by its sharp claws, facing ahead he seems chasing another dragon which it’s just throwing himself among clouds and mist, swiping the air with his tail.
The third dragon is depicted with his face in full view, is climbing over a hill.
Coming from left, the fourth dragon has just sized a pearl, is coming out from the water, provoking turbulent waves and twisting clouds.
Beside appear two other older dragons, one with horns extremely tined and the other with hoary head; they are chasing each other in a circle movement.
Most part of the seventh dragon’s body is dipped into the wiping waves.
Finally the eighth and nineth dragons appear facing each other. The former seems to leaping toward the latter two, while stepping his body on a rock-hill, while turning back the head looking for his encroacher.
Thanks to such balanced composition, the dynamic action of the dragons is taken to an end, as this masterpiece reach a pacific and quite resolution. The brushwork suggest to the viewer the idea of a dramatic beauty and a rhythmic movement on an universal scale.
Two inscriptions of the author and other sixteen calligraphies by an emperor, officials, scholars and Taoist priest are added to the panting, moreover there are many seal-stamps belonging both to the author of inscriptions and to collectors. In this copy such seals are replaced by the author’s seal-stamps, while the original are afterwards classified and studied.
Of the two inscriptions by Chen Rong, the shorter is a memorandum written at the beginning of the painting and chronologically after the scroll-painting was finished:
“The Picture of Nine Dragons was painted in the spring of Chia-ch’en (corresponding to the year 1244) . This scroll has come back into the possession of my son-in-law Hsien Li. Does not a divinely inspired thing surely find its allotted place? “
The longer inscription, in verses, is contemporary to the brushwork, and it’s made by some legends focused on dragons:
“ A real dragon stole a glance at the engraving at Ch’u;
In Chin-ling, two dragons flew away when the pupil of the eye was added.
When Chu-liang had already become an immortal, Chang followed him;
How ashamed was Liu Tung-weih when laughed at by the dragon couple!
The eight scrolls of Wu dragons were not worth hanging.
When drunk I spit the painting from within.
And the waves of Lung-men (the Dragon Gate) , or of San-hsiak (the Three Gorges) are like mountains,
Sending great roars from the depths into heaven.
The flying dragon appears from the gorge and flies toward the river of spring;
The force of Chiu-ho (the Nine Rivers) does not subdue him.
A dragon is like a Ch’ih-mum (Red-leaf) on the Tien-cheihn (Pond of Heaven) ;
The fungus aroused the land of mist and cloud.
Again, the goddess Ch’i-n has been punished by Chün-t’ien (the Lord of Heaven) ;
Lei-kung (the God of Thunder) struck mountains, and heaven and earth were black.
The glistening jade dragon rubbed scales against inaccessible cliffs;
(Dragon-like) big newt, he seems to avoid the visitor from Yang-ling.
The golden snake (lightning) flashed when the dragon awoke from his snoring;
His sharp-rising horns became Hai-men (the Gate of the Sea) .
His grinding teeth and sharp talons grasped the bright moon;
The dance of Tien-wu (the God of Sea) shook the base of heaven.
Over the thunderheads, the dragon taught his sons to make lightning;
The oldest dragon was in the fifth picture.
Two dragons relieved the people during the year of drought;
In the night the horse’s mane turned over the Tien-p’iao (the Ladle of Heaven) .
The warm waves of peach blossom time had reached the third level (of the Mount Kcun-lun) ;
Who dares to climb Yü-men, the most hazardous place?
Blue whiskers and deep red beards grew when fire was burning off their tails;
Thunder of the tenth month followed them as they fled upwards.
The Marquis of Shu slept peacefully in Nan-yang Wu-(hsiang) ;
All the figures were painted as strange and old.
They saved their superhuman strength waiting for the future;
In the world the people prayed for the heavy rain.
So-weng (Chén Róng) painted the picture of nine dragons.
His wonderful brushwork was unequalled in this world.
Looking from afar, cloud and water were like flying movement;
So that one feels it was done by the hand of a god.
Lung-kung from Hsüan-ch’eng had nine sons;
All of them entered the old man’s picture.
Who will paint two cows for me?
Do not put the golden bridle on one of them.
The colophon of the Picture of Nine Deer was written by Fu-weng; and the Picture of Nine Horses was praised by P’o-lao. Nevertheless, So-weng’s dragons are neither like deer nor horses. How could I dare to follow in the footsteps of Master Su and Master Huang ?
I simply put this down to record the year and the month.”
As according to Chinese custom about some addiction into original scroll-painting, an additional length of paper was inserted; it could be hypothesized that the painter, the owner or simply the critic evidently felt free about a certain freedom to the possibility of writing and signing by their seals-stamps directly on the painting or on any other part of the scroll.
Usually such addictions have some documentary value, as for instance they could be used to evince the relative merit, or even the authenticity of the masterpiece. The scroll is thus accompanied by six praises prayed by people of XIV century, mostly Taoist.
1. Written by Tung Ssŭ-hsüeh, contemporary to the artist. His original name was Tung Ssŭ kuo, from Chekiang province. After the destruction of Sung dynasty he converted and became Taoist monk. The eulogy was written in 1306:
“ In the year of hsin-yu (corresponding to the year 1261) , So-weng painted the Picture of a Pair of Swords for Han Hsinal of Tung shan at twilight, in the Garden of Nine
Streaked Pines; it was excellently done. In the tenth year of Ta Te (corresponding to the year 1306) I saw this scroll during a banquet at Yü-t’ien. Its brush work yields nothing
to the painting given to Han (Hsin). Written by the Mountain Man of Lao-chün, Tung Ssŭ-hsüeh.”
2. Composed by Chang Ssŭ-ch’eng, progeny of Chang Tao-ling (34 – 156 d. C.), author of painting of dragons and calligrapher, during XIV century he had become a chief Taoist priest. Eulogy is dated to 1331 year and is written in verse:
“ Hsüan-yün (Music) and Fo-mo (Painting) are called Tien-fen (the Winds of Heaven).
Thunderhead and lightning bolt drive away Lei-kung (the God of Thunder).
Yü-ssŭ (the Genius of the Rain) is busy;
Yüan-ch’i (Constitution of the Universe) is dripping.
Who would be the hero when the universe be comes transformed?
The strange lightning shines when two dragons exert their strength.
They are twisting and turning toward the west?out beyond the heavens.
Mountain rocks are destroyed when one of the dragons awakes.
The sound of his rubbing against rocks conceals the thunder.
One of the dragons does not struggle, but the others rush on.
They look for the Sui pearl and spring up on the bright moon.
The hoariest dragon is the one in the middle.
He enjoys himself leading his sons around in a circle.
One dragon comes out of the water showing his horns.
White waves, like mountains, reflect the sky.
One of the dragons flies up to the great emptiness.
Tien-p’iao (the Ladle of Heaven) has overturned to relieve the dried-up land.
The last dragon is at leisure,
Turning back his head as though he wished to return to dive into the deep sea.
Different styles have been shown by their gamboling and turning around.
Oh, he is not a dragon, how could he know the dragons so completely!
After (Liu) Tung-wei and (Chang) Seng yu had passed away,
The relations with the spirits of a thousand years have been continued by So-weng.
In appraising dragons one should not judge by details (scale and bristle).
The wonder should depend on the spirit.
The transmutations of Chiu-yang should be understood thoroughly.
How could people store them in a box?
I worry that thunder be followed by darkness.
One day they would disappear into the vast emptiness.
Written by Tien-shih (Grand Master) Tai yüan-tzŭ (the Elder Son of Heaven)
second year of Chih-Shun (corresponding to the year 1331), the first month of spring.”
3. Written by Wu Ch’üan-chieh (1269 – 13509, a powerful Taoist priest, active at the beginning of the XIV century; he was born in the district of An-jien, Jao-chou prefecture of the province of Kiangsi. The praise has not any date.
“Sky falling in thunder and rain;
Ink spilled like fire and lightning.
When the time came for untied clothes and (ink) to be spread far and wide,
The spirit had to listen to whatever he said.
Wind and cloud are made by falling snow;
In the twinkling of an eye, he flies away for a thousand Li
Ch’ien-yüan was assisted by Yung-chiu,
As the dragon studied with Lao-tzu.
Written by Hsien-hsien-tao-jen (Leisure Taoist) Wu Ch’üan-chieh.”
4. Composed by Ou-yang Yüan (1273 – 1357), Yüan dynasty scholar and official, active into the College of Han Lin, specialized in preparation of official state documents. He was dignified as Duke and canonized as Wen. His eulogy is in verse:
“Ch’ien, Yang and Liu-yao;
only Yang was solid;
The name, Six Dragons, resembled the dragon nature.
The connection between Ch’ien and Yung-chiu had been transformed by the god’s strength;
That is how in later years the Nine Dragons name appeared.
Ma-shih of Southern Lake followed this transformation;
His body, like a column, became tied by the eight dragons.
What grand and magnificent brushwork is here!
The Hall of Thunder and Wind are painted again.
(Signed) Ou-yang Yuan.”
5. Written by Chang Chu (1287 – 1368), scholar and official, author of the chronicles of Liao, Chin and Sung dynasties. As chin-shih into the Han Lin College he was holder of other high officials. As he achieved high distinctions by his poetry, he had written on this scroll a long poem in verse:
“ The Picture of Nine Dragons was shown to me by an immortal;
I understood that it belongs to the Lei-t’ien t’ang (the Hall of Thunder and Lightning) .
The Po-sang-chien paper is thirty ch’ih long;
Each dragon painted as strange and tortuous.
They turn about over gorges and broken cliffs;
The deep sea has been swallowed by the rest less waves.
They seize the Li pearl and struggle to reflect its splendor;
They stir up waterspouts when they weave in and out.
One flies to the moon (together) with his son,
With a hanging head returning to Pan-yu Cave.
Such grand brushwork, the transmutations endless;
Never before have the true bones (appearances) been realized.
Few people understand what I have seen in my lifetime;
I would not dare to be careless, because this painting is related to the spirit.
Ch’?n Jung knew how to control the dragon, even if he was not an immortal;
Who would be able to hide them in their baskets?
For the thunder would come through the walls
To tread with the bright sun and fly away with the wind.
When Kao Tang’s book was opened, hundreds of monsters escaped;
After looking carefully, mist and rain are felt.
Seng-yu did not like Tung Yü
In the late years no one could be compared with him.
At the beginning, he made rain to cover Chiu t’u
Oh, how grand a sense of duty he had!
This spirit is just what men should have in their work;
When (the dragon spirit) appears it sweeps away stupidity.
How can people constantly play with colors;
And waste away their energy painting grasses and insects?
Signed) Chin-ning (Yunnan province), Chang Chu.”
6. Written by Wang Po-i, born in Chiang-ning in the province of Kiangsu, active during the last part of the XIV century. Inscription was made at the end of 1380 year:
“ Originally the dragon was a spiritual thing,his body was pure Yang so his transmutations were limitless. The painter had to use the meaning of Ch’ien-yüan yung-chiu and the highest point of Yang to form a spiritual thing to frighten living beings. Because of the appearance and disappearance of his transformations, no one dared to steal a glance when the flying dragons were in the sky. What a
wonderful manner was used for these true spirits! That is out of the imagination. Don’t let them break through the wall and escape into the water; it does happen sometimes.
Po-i saw this scroll in the tenth moon of the year Keng-shen of Hung-Wu (corresponding to the year 1380). (Signed) Chiang-ning (Kiangsu province), Wang Po-i.”
Such six prayers, together with the two autograph calligraphy of the artist, also evince the conception of the Chinese dragon as a symbolic, glorious image, genius of force and a divinity. Moreover, in China, the dragon is a benevolent animal, not connected with bad or obscure powers. It is linked to fertility and rain, the genius of water, especially invoked during times of drought or flood. Moreover, because of its life-giving powers and benefits, it was directly linked to the good-administration activities, thus the figure of the dragon was directly elevated to symbolize imperial dignity.
Thought for our culture the dragon is considered as a purely emblematic manifestation as a product of fantasy, according to Chinese traditional culture it was absolutely considered as a real and natural being.
According to Erh-ya-yi, written by Lo Yüan (1136 – 1184), the dragon is the king of all the animals. He also quoted about Wang Fu description of the dragon as a being which have other nine animals semblances:
“the head like a camel (extended), horns like a deer (long), eyes like a hare (protruding), ears like a cow, neck like a snake, belly like a sea-serpent, scales like a carp, claws like a hawk, and feet like a tiger. It has eighty-one scales on its back, nine times nine, the largest positive (Yang) odd-numbered digit; it makes a noise like the rattle of a copper tray; it has a mustache and whiskers; it has a pearl under its chin; below the neck it has a reversed set of scales; on the head it has a protuberance called Po-shan or Ch’ih-mu; without this knob it cannot ascend the heavens. Its out-breathings form clouds which change into either water or fire.”
For many centuries, there have been reports and records which tell us that the dragon is a mythological animal, a symbolic figure and a metaphysical concept. In Chinese Art the dragon could be considered as one of the most important motif, a mystic, fantastic being, inspiration and cause of marvel and awe-fear, swift like the lighting and strong as the storm-wind. Appearing among clouds and mists, the dragon is visible just to the keen-eyed and enlightened minds opened to the widest spiritual forces of nature.
Along the top of the painting there are two inscriptions written by the Emperor Ch’ien Lung (1711 – 1799), the fourth emperor of the Ch’ing dynasty, and according to his words is possible to date the calligraphy to the year 1767:
“In the later spring of ting-hai, I, the emperor, ordered Chin T’ing-piao (ca. 1767, a court painter) to make a copy of this scroll. The spirit was more or less like the original. So I had to write at the beginning and at the end.”
Moreover, at the end of the brushwork, there are eight verses composed by an high official of the Ch’ien Long court, as he adapted in verse the inscription of his emperor, and he sealed his inscription by his seal-stamp at the end of the verses.
Yin Chi-shan (1697 – 1771) , a member of the Manchu Bordered Yellow Banner. He became a chin-shih in the year 1723 and was made a Grand Secretary in 1764. The emperor praised him not only as an able administrator but as one who was kind and broad-minded;
Liu T’ung-hsün (1700 – 1773), a native of Chu-ch’eng of Shantung province. He served twice as Chancellor of the Han Lin College and also served as Director General of both the State Historiographer’s Office and the commission to compile the catalog of the Imperial Library;
Yü Ming-chung (1714 – 1780), native of Chin-t’an in the province of Kiangsu. When he was twenty-four, he became a chin-shih with highest honors, and was made a first class compiler of the Han Lin College. He was constantly with the emperor on tour or in the capital, and many important policies of the middle Ch’ien Lung period were decided by the emperor in accordance with his advice;
Tung Pang-ta 1699 – 1769), a native of Fu-yang in the province of Chekiang. In 1747 he was appointed sub-chancellor to the Grand Secretary and later, among other positions, he was made the President of the Board of Ceremonies. As a painter he won high recognition;
Ch’iu Yüeh-hsiu (1712 – 1773), native of Hsin-chien in the province of Kiangsi. He became a chin-shih in 1739. His principal activity was the superintending of flood control in eastern Honan, western Shantung and northern Anhwei provinces;
Wang Chi-hua (1720 – 1776), a native of Ch’ien-t’ang, province of Chekiang. He became chin-shih in 1745 and later was made a Minister of Revenue, and a Chief Director General of both the State Historiographer’s Office and of
the commission to compile the catalog of the Imperial Library;
Ch’ien Wei Ch’eng (1720 – 1772), a native of Wu-chin of the province of Kiangsu. He became Chin-shih in 1745 with highest honors and then was appointed a Han Lin compiler of the first class. He was a master both of calligraphy and
painting;
Ch’en Hsiao-yung (1715 – 1779), notable critic and calligrapher. He served at Ch’ien Lung’s court and participated in the compilation of the Hsi-ch’ing ku-chien an illustrated and annotated catalog of 1,529 bronze utensils, and other objects of antiquity, preserved in the
Imperial Palaces.
We have very few information about the life of Cheng Rong. He’s registered in the work compiled in 1580 by Hsü P’u entitled “ Min-hua-chi” as disciple of Kung-ch’u Master, born in Ch’ang-lo (today Min-hou district, province of Fukien). He had passed the chin-shih exam in the second year of Tuan P’ing ( 1235 ), thus he entered in the government with a rule into the Department of Education; later he became Prefect of the district of P’u-tian in the province of Fukien. He gained a very high individual reputation for his integrity and for his abilities as scholar and painter, specialized in paintings of dragons.
His brush-works dedicated to dragons seems to represent the transformation of their spirits. He painted clouds among which the dragons flying adopting the so-called spilled ink
style and splashed ink over the area of mist and breaking waves apparently by snapping the brush so that ink-spots scattered on the paper. When he was drunk, he shouted aloud, took off his cap, dipped it into ink and then aimlessly smeared and rubbed with it, making a rough picture which he afterwards completed with the brush. Sometimes the whole figure of the dragon was shown, sometimes only a leg or a head. The dimly defined shapes were beyond description, almost inconceivable, yet truly divine and mysterious.
When he painted pine and bamboo, he adapted Liu Ch’eng-hsüan’s (Liu Kung-ch’üan, 778 – 865, an official and calligrapher of the Tang dynasty) Iron Hook Manner (brush-strokes like iron hooks). His paintings were regarded as masterpieces in the days of the reign dated Pao Yu (1253 – 1258). Toward old age, his brush manner became more and more simplified, concentrated and wonderful. His paintings which have touches of deep red color are comparable to Tung Yü’s work.
Moreover we know that Chén Róng’s famed dragon paintings were regarded as masterpieces even in his own day. We also know that his technique in the art of painting is somehow different from most of his contemporaries. If we examine this scroll carefully, we will be able to find some traces made by the impression of cloth appearing throughout the picture (mostly along the edge of the dragon figures and the clouds).
Evidently, Chén Róng used cloth as one of his instruments for pictorial representation. When he painted he made a rough sketch with some kind of cloth, or even with his own cap. Then he completed the picture with brush and dark ink
in strongly defined wrinkles for figures, clouds, water and rocks, which gives the picture its distinctive quality, modeling and texture.
The picture also shows that the master’s brush-work has a combination of rhythmic beauty and powerful strength. The motifs which appear in his picture, such as dragons, rocks, and waves, suggest a sense of life-motion.
The style-analysis of the artist’s brush-strokes evinces different type and techniques: among rocks and cliffs, the Small-axe Wrinkles or Hsiao-fu-p’i ts’un have been employed by the artist. The effect of these strokes is of faulted angular rocks. This type of ragged stroke is only produced when the brush is dragged sideways. On the chins of these dragons is found a type of sharp-headed dot or short-pointed strokes that we may call Sharp-headed Dots or Chien-fou tien also Nail Wrinkles or Ting ts’un, which are made by the tip of the brush. They can be produced by a broken or old, worn brush. The effect suggests an irregular texture suitable for the appearance of a dragon.
Among the figures also appears brushstrokes made by the dragging of an oblique-hold brush-tip, while the exit of the brushstroke is made by the side of the brush, a style named Che-tai ts’un, as especially refined and delicate are the brushstrokes which depicted the head of the hoary-dragon, within is clear the sense of variation and continuity of the movement.
The same style is adopted also in painting vortexes and waves, produced by the movement of the dragons; here ink is directly sprinkled on paper, expressing the foam of the wiping-out waves, phase of painting executed at the end of the brush-work.
According to Chen Rong words, this painting was in the hands of his son-in-law Hsien Li; unfortunately we know nothing about this possessor. According to Hsien-chi Tseng (1957) it could be supposed that, for some reason this painting passed into the possession of Taoist priests during the fourteenth century. For the names connected with the painting during this period are all, not unknown, Taoist figures. During the seventeenth
century, it became the possession of Keng Chao-chung (1644-1686), a member of the Chinese Plain Yellow Banner, who married a daughter of the prince of the imperial family of the Ch’ing dynasty. He was a notable collector of the early Ch’ing era. During the second-half of the eighteenth century, this painting was presented to the Emperor Ch’ien Lung, and he passed it on to his son Yung-yen (1760-1820), who became the fifth emperor of the Ch’ing dynasty in the year 1796, under the reign-title Chia Cheing. Before the scroll came into the possession of the Museum, it was in the collection of I-hsin (1833-1895), the first prince Kung, who was the sixth son of the Emperor Hsiian Tsung (1782-1850).
Below are studied and listed the original seals, as appearing in the following plate and according to their chronological order. The seals of the author of the copy is finally listed in the order they appear both in his painting and in the dedicated plate.
Original seal-stamps
Original Seal-stamps – 1
A. Chén Róng
1. So-weng: one of the given name of Chen Rong
B. Chang Ssu-ch’eng
2. San-shih-chiu-tai t’ien-shih: 39° generation of the Great Master
3. T’ai-hsüan-tzŭ: the elder son of the heaven.
C. Wu Ch’üan-chieh
4. Ch’üan-chieh
5. Chih-shih-yen: the words for a peaceful era.
6. Ho-hsi wu-tzŭ: one of the given name of Wu Ch’üan-chieh
7. Jao-kuo-shih-chia: an old and honorable family of Jiao-kuo.
D. Ou-yang Yüan
8. Kuei-chai shu-yin: one of the given name of Ou-yang Yüan
E. Chang Chu
9. T’ing-feng-yü chai: a Studio for Listening to wind and rain
10. Hsian-ling chang-shih: Chang family of Hsian-ling
F. Wang Po-i
11. Po-i
12. Ch’ien-ch’ing k’an-k’un wu-li: one of the seal of Wang Po-i
G. Keng Chao-chung
13. Tu-wei keng-hsin-kung shu-hua chih chang: seal for calligraphies and paintings of Tu-wei Keng Hsin-kung’s possession. Tu-wei is a title of sixth and seventh orders of nobility of the Ch’ing era. Keng Chao-chung, a notable collector and official of the early Ch’ing dynasty.
14. Hsin-kung chen-pi: very valuable article of Hsin-kung. Hsin-kung is one of Keng Chao-chung’s names.
15. P’o-hai-chu-jen chen-ts’ang (repeated 4 times): a precious possession of Master P’o-hai. P’o-hai is one of the name of Chao-chung.
E. Emperor Ch’ien Lung
16. Ch’ien-lung yü-lan chih-pao: a precious thing for His Majesty Ch’ien Lung’s inscription.
The seal often appears among paintings and specimens of calligraphy of the Imperial collection..
17. Wu-fu wu-tai t’ang ku-hsi t’ien-tzŭ pao: an emperor is seldom like antiquity and has a hall of five blessings and five generations.
18. T’ai-shang huang-ti chih-pao: a precious thing of the Super Emperor.
19. San-hsi-t’ang ching-chien hsi: an Imperial signet of essential inspection at the Hall of Three Rarities.
20. Shih-ch’ü pao-chi: a treasury book case of the Library of Stony Gutter. The name of one of two well-known catalogs of paintings and calligraphies which were preserved in the various halls of the Emperor Ch’ien Lung’s palace. The catalog, a work of 44 chüan, was commissioned in 1744, completed in 1745, and first printed in 1918.
Original Seal-stamps – 2
21. Pa-cheng-mao-nien chih-pao: precious thing of an old man who has eight evidences to remember.” Pa-cheng or Eight Evidences are Ku (reason) ; Wei (to be) ; Te (to obtain) ; Sang (to lose) ; Ai (to pity) ; Lo (joy) ; Sheng (living) ; Szu (death). The term is originally from Lieh-tzu, Chou-mu wang. The seal was made between the years 1796 and 1799.
22. I-tzu-sun: it is right that my posterity.
23. Ku-hsi t’ien-tzŭ: an emperor whose like was seldom seen since antiquity.
24. Shih-ch’ü chi-chien: second inspection by the Library of Stony Gutter. After Shih-chü pao-chi, two supplementary catalogs were written. The first supplement is entitled Shih-ch’ü pao-chi, a work of 88 chüan ordered to be compiled in 1793, but never published. The second supplement (san-pien) of 108 chüan in 1817 also has never been published.
25. Ch’ien-lung chien sang: enjoyed and appreciated by Ch’ien Lung.
26. Yü-shu-fang chien-ts’ang pao: an inspected and possessed precious thing of the Imperial library.
27. Ch’ien: Heaven. The first character of Diagrams (bagua), means, Heaven; a circle; a ruler; a father; jade, etc., also it represents what is great and originating, penetrating, advantageous, correct and firm. The first character of Hung li’s (the emperor) reign-title.
28. Lung: The character represents prosperous, generous and magnify. The second character of Hung-li’s (the emperor) reign-title.
I. Emperor Chia Ch’ing
29. Chia-ch’ing yü-lan chih-pao: a precious thing for His Majesty Chia Ch’ing’s inspection.
J. Yin Chi-shan
30. Yung-ko Sheng-shih: singing songs for the prosperous era.
31. Ch’en yin chi-shan: Your servant, Yin Chi-shan. The seal used only for addressing the throne.
K. Liu T’ung-hsün
32. Hsün: the second character of Liu T’ung-hsün’s given name.
33. T’ung: the first character of Liu T’ung-hsün’s family name.
L. Yü Ming-chung
34. Ch’en yü ming-chung: your servant, Yü Min-chung. The seal used only for addressing the throne.
35. Hua-hsuen kuei-hsin
M. Tung Pang-ta
36. Ch’en Pang-ta yin: Your servant, seal [of ] Pang-ta. The seal used only for addressing the throne.
37. Jan-han: Imbued with brush-tip
N. Ch’iu Yüeh-hsiu
38. Ch’en ch’iu yüeh-hsiu: You servant Ch’iu Yüeh-hsiu. Used for addressing the throne.
39. Ching-shu: inscribed with respect.
O. Wang Chi-hua
40. Ch’en: your servant. Formerly used by civil officials of themselves at the beginning of their given names when addressing the throne.
41. Chi-hua: the name of Wang Chi-hua.
P. Ch’ien Wei-ch’eng
42. Ch’en ch’ien-wei-ch’eng: Your servant, Ch’ien Wei-ch’eng. Used for addressing the throne.
43. Jan-han
Q. Ch’en Hsiao-yung
44. Ch’en Hsiao-yung: Your servant Hsiao-yung
45. Ching-shu: inscribed with respect.
R. I-shin, the Prince Kung
46. Kung ch’ing-wang chang: seal of the first prince Kung.
Author’s seal-stamps
Xiulong Seal-stamps – 1
S. Xiu Long, author’s Chinese name
47. Xiu Long: the name written in Jiaguwen, engraved by Nicola Picchioli, November of 2006
48. Xiu Long: the Chinese name of the author written in Bronze ideograms, engraved by Nicola Picchioli, November of 2006
49. Xiu Long: the name in traditional regular ideograms, engraved in Lijiang by unknown artisan, August of 2009
50. Xiu Long: the name, written in Hanyin style, engraved in Shanghai by unknown artisan, July of 2009. The decoration I’ve taken from an imperial seal-stamps watched in Shanghai Art Muesum.
Ho avuto l’onore di essere accettato per la partecipazione alla mostra di Carnet di Viaggio che si terrà al Centro Culturale Candiani di Mestre, dal 05-10-2012 al 21-10-2012.
Personalmente sarò a Mestre dall’inaugurazione della mostra fino alla Domenica, per poi far ritorno a Firenze e lasciare al centro Candiani i miei carnet selezionati.
Vorrei ringraziare infinitamente Andrea Longhi per il grande aiuto che mi ha dato, e tutti gli amici del Associazione Culturale Matite in Viaggio per avermi concesso questa esperienza che sarà sicuramente bella e stimolante, per il supporto e l’infinita pazienza.
Presenterò alla mostra 4 carnets, tutti realizzati su Moleskine Giapponese.
Due Carnets sono dedicati a Lijiang, più precisamente uno è il Carnet de Voyage sulla città di Lijiang visitata nel 2005, provenendo da Dali; sull’altro Carnet mi sono invece concentrato sulla regione di Lijiang ed il monte Yu Long Xue Shan ai cui piedi si trova Lijiang; considero questo secondo carnet molto importante perchè nelle tavole finali ho dipinto il villaggio di Yu Shui Zhai (il Villaggio dell’acqua di giada) documentando la vecchia porta di ingresso al villaggio che ho appreso esser stata abbattuta e sostituita da un altro ingresso.
Lijiang, Japanese Moleskine – Carnet I
Questi due Carnet sono i miei “pezzi storici” assieme al Carnet su Pechino (Moleskine acquerello), che ho presentato assieme a “Rotolo dei 9 Draghi” lo scorso Novembre al Rendez Vous di Clermont Ferrand, a cui a questo giro, purtroppo, non parteciperò perchè non sono stato selezionato…; c’est la vie!!!
Lijiang, Japanese Moleskine – Carnet II
Altro Carnet a cui sono legatissimo è il primo dedicato alle Cinque Terre, su Riomaggiore, iniziato e praticamente completato nella settimana splendida ed enormemente importante per me come carnettista con Stefano Faravelli.
Le Cinque Terre – Carnet I. Riomaggiore
Infine, ultimo carnet in mostra è il primo di quelli dedicati ai muesi navali europei, in questo caso il Museo Navale di Barcellona, visitato nell’estate del 2009.
Fragmento do Mar – Carnet I: Museo Navale di Barcellona
Tenterò di postare sviluppi, pensieri ed impressioni direttamente da Mestre nei 3 giorni in cui sarò alla mostra.
This Carnet on Japanese Moleskine is dedited to “The Drifter”, a Taylor Steele Movie with Rob Machado as starring and drifting…
Well, there’s plenty of words with which I could try to describe how I knew this movie, why and how much I care ‘bout, why I’ve made a Carnet focused on it and from it inspired, etc…
But…
I don’t think it really matters, as I don’t wont to bug anyone with my elucubration (dreaming-up).
My way of painting, as carnets as other media, is just a way of expression, a need of mine materializing in colors, drawings and notes. Thus this carnet is just a reaction springing out from the so full of beauty Taylor and Rob drifting around Bali and Indo. Sometimes, chatting with my beloved, we state that this is a real carnet de voyage, a travel truly lived, natural and humans sights truly seen and recorded, with the eyes of the surf [er].
What I really felt soooo fine, so cool, is a sensation of deep immersion into the drifting of the mind and the feelings springing out from a travel which, I think, is the incarnation of a travel made inside ourself, feelings different in forms but that I perfectly re-found in what I lived in 2005 in China, drifting completely alone…
Tiantan Gongyuan - promenade to the filend where I trained in Taiji
In this carnet I met again versus the very hard attempt in describing by painting a sum of sensation which touch sound and smell…, like in Tiantan Gongyuan (Beijing) the sound of the deep magik silcence of the sun rising-up from the East gate, and the hot sound of the shout by far-away people concealed in the deep of the sacred wood practicing Qigong exercises…
The Drifter - attempt in painting the sound of whave
as here in The Drifter the sound of the bells in the beginning, and of the powerfull wiping-out of waves…
As in Sipping Jetstreams someone told, I’m only trying to read the whole book…
Original Seal-stamps – 1
