|
Wen Pulin: Dearest Brother Di,
The last occasion of our meeting, on the mountain, was extraordinarily pleasant; joking in such a way about the adventures of our youth, one might never guess that nearly thirty years have passed!
Our former schoolmates have become rich men among tycoons, become authorities to even the highest officials, and the teachers of great masters. Only you, Brother Di can chuckle indifferently, “sitting idly and painting.” Thinking on this carefully, this seems to be the essential nature of any painter. As when a cook has earned the title of master chef, he is still but making food for others. When those paintings are finished, any additional cultural or social significance will be only guessed at by specialists with too much time on their hands. You know I’ve never been really been a great painting enthusiast, and I do not write about painting; everything I have followed with interest has been condemned as “cultish.” However, all the catalogs you’ve bestowed upon me I’ve read in earnest, moreover, they have provided me with rather pleasant surprises. In the language of painters, you have advanced far beyond your classmates.
An impression: you were raised with “German expressionism“ as a nutritional supplement, and thus, in the prime of your life, your style is rather robust. Also, despite your long hiatus in Europe, steeped in Western traditions, you are still able to focus on the cultivation of Eastern rhythms, intertwining a sense of the ancient culture into these Western-looking canvases. This is laudable.
A close observation: you paint like two lovers entwined, layer after layer is able to be unpeeled, each part pressed hard up against another, filling gaps like water, two sentiments that welcome contact, and your technique is venerable, like grass script after drinking, unrestrained, and with the distinguished air of the literati.
An appraisal: Firstly, your paintings do not attempt to be fashionable, nor to agitate, and they don’t purport any trademark concepts; secondly, they are not mass-produced, they don’t attempt any crafty manufacture, but maintain their spontaneous freshness and character; thirdly, there is ink and brush, holding fast to the special skill set of painters through the ages.
Despite these being a few slapdash words of praise, brother, please take them in earnest. Proudly lose all your bearings, I look forward to your recklessly free painting, to the bold and unconstrained joy of your losing yourself in climax!
A smile is mutual encouragement !
Humbly yours, Wen Pulin
January 13, 2011 Dong Tai
|
