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Posted by: | on septembre 10, 2024

ArtistCloseUp interviews Karel Vereycken on the creative method

In its september 2024 issue #22, the Contemporary Art Magazine ArtistCloseUp, widely read among professionnals, presented some works of the French-Belgian Painter-engraver Karel Vereycken.

On July 23, the magazine published an online interview with Karel on what motivates him and his creative method.

Karel Vereycken

Born in 1957 in Antwerp, Karel graduated from the Institut Saint-Luc in Brussels and trained in engraving at the Académie Royale des Beaux-Arts, where he obtained a certificate of passage « with distinction. » In France, as a member of the Fédération nationale de l’estampe, he confirmed his technical mastery at Atelier63 and continued to perfect his skills in the Paris workshop of Danish engraver Bo Halbirk.

Complete biography

Written By Editorial Team

What is your background and how did you start your journey in the art world?

“I was born in 1957 in Antwerp. My parents worked in the port and the ship repair industry. Their adolescence, studies and careers were reduced to zero by the war period and the need to bring an income and feed their brothers, parents and family. So for their children, my parents thought we should have the occasion to fully enjoy and explore the cultural dimensions.

My mother, who was prevented by the war to become an opera singer, got me into a music school. But at that time, the teaching methods, basically learning to read scores for two years before ever being allowed to sing, were so repugnant that I ran away from that. As an alternative, my mother sent me to a communal drawing school directed by a talented sculptor named Herman Cornelis. The bearded cigar-smoking giant would rip pages out of old books and stick them in my hands saying “copy this!”

At the same time, my father would take me every weekend to visit the numerous museums of Antwerp where paintings of Bruegel, Rembrandt, Bosch, Rubens, Van Eyck and many other Flemish masters were on show. Father couldn’t really explain why but knew this was somehow very important.

Antwerp has also a well preserved XVIth century print shop of Christopher Plantin, a French humanist who worked in that city in the 16th century with many cartographers such as Mercator and Ortelius, whose engraved globes and printed maps impressed me deeply.

Then, at age 12, I won my first art prize and my teacher convinced my mother “there was precious talent” in me. With that advice, my mother sent me to Brussels to attend the Saint Luke Art School and study Plastic Arts. Some teachers were quite annoying but others got us into deep study of anatomy, examining Leonardo da Vinci and Albrecht Dürer’s groundbreaking studies. I continued another two years at the Ecole Royale des Beaux Arts of Brussels to study copper engraving and got graduated “with distinction.”

I then moved to Paris and worked as a journalist and editor of a non-commercial militant paper. But after some years, I found out art was really lacking in my life so I returned to it. First by producing copies of old masters painting on wooden oak panels with hand-made egg tempera, venitian turpentine and various other ancient oil techniques I rediscovered with a friend of mine.

Since the people that ordered these painting took them home, at the end, I had nothing to put on show. Therefore, I returned to watercolors and etching. I also gave a three year course of drawing for some of my friends, mainly amateurs and beginners.”

What inspires you?

“What always attracted me in painting and imagining is the way art “makes visible” things and ideas that are “not visible” as such in the simple visible world but which “appear” in the minds of the viewer.

It took me over twenty years to sort out the difference between “symbols” (a “convention” accepted among a group or a code system designed to communicate a secret meaning), and “metaphor” which by assembling things unusual, by irony and paradox, allows the individual mind to “discover” the meaning the painter intended to transmit.

Such an approach offers the joy of discovery and surprise, a deep human quality. Modern art started as a non-figurative form of symbolism till “contemporary” art brought many artists to put an axe into the very idea of poetical meaning.

In 1957, the CIA sponsored, under various covers and often without the artists even knowing about it, many “abstract” artists to promote a form of art that it considered coherent with its ideology of “free enterprise.”

So what inspires me is true human culture, be it Chinese painting of the Song dynasty, the Buddhist sculptures of Gandhara, the early Flemish masters or the magnificent bronze heads of Ifé in current Nigeria. Bridging the distances in space and time, religion and philosophy, stands the celebration of unique human capacities, that of compassion, empathy and love.”

What themes do you pursue? Is there an underlying message in your work?

“I don’t pursue themes, they pursue me! My aim is to shock people by showing them that nothing is more “modern” and “revolutionary” than “classical” art, not understood as annoying academic formalism, but as a science of composition based on non-cynical, liberating ironical poetical metaphors, who are the key to all forms of art be it in the domain of the visual arts or music. Art is always a “gift” from the artist to the viewers and the act of giving is an act of love. That is the message.”

How would you describe your work?

“I consider my work as part of a teaching activity, as a sort of humanistic intellectual guerrilla “warfare.” Even if I appreciate selling my works, and get more resources available for my art work, I’m definitely not out to please a given public or to market an aesthetic object. What counts for me is to get viewers to reflect on how “art” can be a “window” to a dimension people intuitively know as important but were never given access to.

I also took dozens and dozens of friends on guided tours at the Louvre in Paris, to the Frankfurt Museum or to the Metropolitan in New York. Some of these guided visits have been audio-taped and are available on my website. After these tours, most of those I guided thanked me warmly saying “I never even suspected to what degree ideas are transmittable through paintings.””

Which artists influence you most?

“I have studied in depth the European renaissance in the works of Ghiberti, Van Eyck, Leonardo, followed by Piero della Francesca and Dürer, arab optical science gave us the science of perspective representation. I wrote several book-length articles on Rembrandt whose tenderness and profoundness moved me to tears. But if one looks to his life, he’s main quality was not his natural talent alone but the fact that he was such a hard worker. For example, to have your portrait done by Rembrandt, you had to pause for some time every day in his studio during at least three months! Having natural talents makes artists lazy! But having good results after much hard work is the trait of genius.

Deciphering Hieronymus Bosch images in his paintings brought me to explore all the ironies of the 15th Century’s Dutch language brought up by Erasmus and his circles. Viewing all of Goya’s work on show in Madrid was another shock to the degree that his painting is so political while remaining beautiful visual poetry in its own right. Emotionally, I identify mostly with him who saw, just as me, both Rembrandt, Erasmus and Bosch as the sources of his elan. Today, Gandhara Buddhist art is adding new dimensions I ignored and helps me to add the required nuances to my views mostly centered on European art.”

What is your creative process like?

“It takes a lot of courage to overcome the fear to be “completely alone” while you walk a road nobody ever walked on. Everything starts by having a “spark” of imagination and forge it into paradoxical metaphors. As an example, the way I created my work Stairway to Heaven (color etching on zinc, image 3). It started with my examination of the fantastic Chinese landscape paintings. Going through pictures of Chinese landscapes, I realized some of these paintings were not pure imagination but based on landscapes that really existed. The most fascinating of them are certainly those of an area called “Yellow mountains.”

Now at that time, I was also unraveling the way the Flemish painter Joachim Patinir painted his landscapes, as objects for religious contemplation. In the latter’s painting, man is seen, as in Augustinian philosophy, as a pilgrim, who has to learn how to detach himself from earthly possessions, that attachment considered a source of evil. The pilgrim is at the crossroads. By his free will he has to decide, either to take the easy road downhill or the difficult road uphill where he will reach out by going through a small gate.

So in my etching, I “married” a landscape from this Flemish school (on the left) with a view of China’s Yellow mountain. Initially, I had left out the pilgrim, but by working on the landscape, the idea came back to my mind. To accentuate that the road downhill was the road to evil, I added an owl, in Flemish folk art a symbol of evil since able to see in the dark and to grab you in your weakness. So, as one of my friends says, “behind Karel’s works, there’s always a story,” but it is up to you to discover it !”

What is an artist’s role in society and how do you see that evolving?

“I see on the internet dozens of very talented artists, the world is full of them! But what is required is a turn. What we need are political and financial elites willing to promote a culture that give these talents the chance and the means to shape the public and urban living space. We need a “culture of art” that makes people more and not less human.

As the German poet Friedrich Schiller said in his poem “The artists,” it is them that have the dignity of mankind in their hands, with them humanity rises or falls. Today, a much required turn is desirable. The despicable dictatorship of a handful of greedy gallerist sitting in London, Zurich, Venice and Geneva and deciding who is or is not a valuable artist should be brought to an end and I’m not even mentioning the laundering of criminal money it involves.”

Have you had any noteworthy exhibitions you’d like to share?

“With my colleagues from the workshop of Bo Halbirk in Montreuil, it was really nice in June 2024, to present my works at the 6th Exhibit of Contemporary Prints at the Paris Saint-Sulpice market. Going public, meeting art lovers and fellow artists is always a pleasure and a way to open new avenues. I need more of that!”

Website: artkarel.com

Instagram: @karelvereycken

Other links: www.facebook.com/karel.vereycken

Merci de partager !
       

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Posted by: | on décembre 19, 2019

Léonard en résonance avec la peinture traditionnelle chinoise

Karel Vereycken

人民网>>国

Mon entretien avec le Quotidien du Peuple: (People’s Daily)

Version chinoise (mandarin) suivie de la version française (FR) et anglaise (EN):

2019年12月18日17:03  来源：人民网-国际频道 分享到：

人民网巴黎12月17日电（记者 葛文博）今年是达芬奇逝世500周年，长居法国的比利时版画家、艺术史学家、美术评论家雷尔·维希肯（Karel Vereycken）近日接受人民网记者采访，阐述其多年研究达芬奇绘画技法的心得，认为《蒙娜丽莎》一画同中国古代绘画技法异曲同工。

在他看来，许多人采用“欧洲中心”的视角将透视法归于西方独创和所有，这是错误的。维希肯通过观察中国古代尤其是宋代的绘画作品，提出中国才是透视法的先驱，后世包括达芬奇在内的许多欧洲艺术家的作品都能同中国古代绘画理论和技法产生共鸣。

人民网：您认为中国绘画如何启发了透视法？

维希肯：中国从公元6世纪开始，一些艺术著作不仅记录了文艺实践，也启发了更为活跃的绘画艺术。中国南北朝著名的画家、文艺理论家谢赫提出的“六法”，既要“气韵生动”又要“应物象形” 。宋代画家与书画鉴赏家郭若虚在其《图画见闻志》中写道：“人品既已高矣，气韵不得不高；气韵既已高矣，生动不得不至”。这显然超脱了绘画的“技术”层面，升华进入了精神和道德领域。它突破单纯形制而追求由内而外的生命力，成为透视法的重要理论基础。

人民网：这与达芬奇绘画技法有何契合之处？

维希肯：我在2007年发表的文章《达芬奇，捕捉运动的画家》中就指出，这位画家渴望绘制运动、转变的场景。达芬奇非常认同希腊哲学家赫拉克利特斯的名言“世上唯有‘变化’才是永恒的”。然而，要掌握的不是物体的形式或它们所处的时空，而是要掌握它们在变化过程中在给定时刻的外观，这就有必要深入了解产生变化的原因。

宋代苏轼在其《净因院画记》中提出，人类、家禽、宫殿、居室、器物、使用的东西，都有其经常所处的形态。至于山川、岩石、竹子、柴木，流水、海波、烟雾、云朵，虽没有经常所处的形态，但有其存在的本质。我发现，苏轼追求本质、重视变化的观念同达芬奇寻求运动的思路不谋而合。

唐代诗人王维在其《山水论》中更为详尽地阐述其对透视的理解：“远人无目，远树无枝。远山无石，隐隐如眉；远水无波，高与云齐”。 对画面的空间、层次、疏密、清晰度等做出细致描述。这与达芬奇采用的“空气透视法”也完全契合。

人民网：这种契合如何表现在达芬奇的《蒙娜丽莎》画作中？

韦雷肯：除了形体的运动以外，达芬奇还试图表达一种“非物质的运动”，他将其分为五类。第一个是时间，因为它“包容了所有其他事物”，其他分别还有光、声音和气味的传播。在他看来，这些并非实体的运动恰恰使事物充满生机。

但是，如何描绘这种生机呢？仅凭借固定的形式是不可能的，因为死死抓住形式不放，就如同费心捕捉美丽的蝴蝶却将其用钉子钉住制成标本，生命力就消逝了。雕塑家、诗人和画家必须在作品中制造讽刺、矛盾和模糊，就像伟大的思想家林登·拉鲁什（Lyndon LaRouche）所说的“中间状态”，以揭示潜在的运动和变化。

蒙娜丽莎的脸上就充满了神秘的“矛盾”：嘴巴的一侧微笑，另一侧微笑的程度略小；一只眼睛透出认真的眼神，另一只眼睛则透出愉悦；一只眼睛看着你，另一只眼睛则越过了你，等等。蒙娜丽莎的微笑难下定义，因为它恰好在“中间状态”。她是真的微笑还是哭泣？她的微笑能拥有这样迷人的力量，是因为她身后的风景更为迷人。这副画风景的透视更接近之前我们所述的中国画的规则，而不是彼时欧洲的死板规定。

在中国画中，水与山之间的相互作用是普遍转变的象征，可以将不同层次的山、水、雾等联系起来。从公元10世纪开始，中国画寻求与人类视觉经验相符的构造，不仅采用焦点透视，反而创造运用随着视线投射变化产生的散点透视。这种透视恰恰存在于达芬奇的《蒙娜丽莎》之中，在人物的左侧，视线位于鼻孔的高度，在人物右侧，水平线则升至眼角。这样打破常规的透视法，令我们感受到蒙娜丽莎鲜活的生命和活泼的灵魂，聆听着到画作与中国传统绘画穿越时空的共鸣。 (责编：李婷(实习生)、燕勐)

Cet article a été repris par les sites chinois suivants:

Version française:

Léonard en résonance avec la peinture traditionnelle chinoise

Karel Vereycken, un peintre-graveur et historien d’art amateur d’origine belge vivant en France, travaille depuis longtemps sur la perspective. En 1996, dans une étude approfondie publiée dans Ibykus, le magazine allemand de l’Institut Schiller, il résuma ses recherches sous le titre « L’invention de la perspective ». Selon lui, par une lecture euro-centrique étriquée, la majorité des « experts » attribuent la paternité de cette découverte (la représentation de l’espace sur un plan) de façon exclusive à l’Occident.

Or, en examinant, non seulement les œuvres mais tout autant les écrits des peintres chinois, notamment ceux de la Dynastie Song (960-1279 après JC), Vereycken s’est rendu à l’évidence que la Chine a été pionnière dans ce domaine et a pu influencer certains artistes européens, dont Léonard de Vinci. Il a développée cette question dès 1996 dans son article intitulé « Sur la peinture chinoise et son influence en Occident ».

Etant donné qu’en 2019-2020 le Musée du Louvre, consacre une belle exposition à ce peintre extra-ordinaire, dans le cadre du 200e anniversaire de sa disparation, nous avons demandé à Karel Vereycken de présenter l’influence chinoise sur son œuvre.

Quotidien du Peuple : M. Vereycken, quel a été l’apport de la Chine à l’invention de la perspective ?

VEREYCKEN: L’avantage de la Chine, et mes confrères chinois me corrigeront le cas échéant, c’est que l’on y trouve, dès le VIe siècle, des écrits témoignant, non seulement de la pratique artistique dans le pays, mais évoquant l’état d’esprit qui doit animer les peintres. Je pense notamment aux six règles de base de la peinture chinoise détaillées par Xie He (500-535) pour qui « la résonance intérieure » doit « donner vie et mouvement » mais exige aussi la « fidélité à l’objet en représentant les formes ». L’on constate tout de suite, que ce qui prime, ce n’est pas la performance « technique » du peintre, mais sa valeur spirituelle et morale. Le peintre des Song, Guo Ruoxo, écrit par exemple en 1074, que « Si la valeur spirituelle (renpin) d’une personne est élevée, il s’ensuit que la résonance intérieure est nécessairement élevée, alors sa peinture est forcément pleine de vie et de mouvement (shendong). On peut dire que, dans les hauteurs les plus élevées du spirituel, il peut rivaliser avec la quintessence ».

Quotidien du Peuple : En quoi cela a un rapport avec Léonard de Vinci ?

VEREYCKEN: Comme j’ai tenté de le développer dans mon article « Léonard, peintre de mouvement » de 2007, ce qui rapproche ce peintre de la philosophie chinoise, c’est sa volonté de peindre les transformations. Léonard se reconnaissait pleinement dans la phrase du philosophe grec Héraclite pour qui « Il n’y a que de permanent que le changement ». Or, pour saisir, non pas la forme des objets ou de l’espace-temps dans lequel ils se situent, mais leur apparition à un moment donné dans un processus de transformation, il faut savoir pénétrer les causes qui les engendrent.

Or, les « Notices sur les peintures du Jingyinuan » de Su Shi (1036-1101), révèlent une approche si semblable à Léonard qu’on risque de les confondre avec ses « carnets » ! Su Shi écrit « Au sujet de la peinture, j’estime que si les figures humaines, les animaux, les bâtiments ou les ustensiles ont une forme constante, par contre, les montagne et rochers, les arbres et bambous, eaux courantes et vagues, comme les brumes et les nuages, n’ont pas de forme constante, mais gardent un principe interne constant. Lorsque la forme constante est défectueuse dans sa représentation, tout le monde s’en aperçoit ; cependant, même un connaisseur peut ne pas s’apercevoir que le principe constant n’est pas respecté. C’est pourquoi tant de peintres médiocres, afin de tromper le monde, peignent ce qui n’a pas une forme constante. Or un défaut dans la représentation d’une forme ne touche qu’une partie de la peinture, alors qu’une erreur dans le principe constant en ruine la totalité. Car lorsqu’il agit de la représentation des choses qui n’ont pas de forme constante, il faut respecter son principe interne (li). Certains artisans sont capables de dessiner les formes exhaustivement ; par contre, pour leur principe, seuls y parviennent les esprits élevés et les talents éminents… »

Quotidien du Peuple : et au niveau de la perspective ?

VEREYCKEN : Léonard, qui décrit la « perspective d’effacement » aurait pu adhérer sans problème à ce qu’écrit l’érudit Wang Wei (701-761) pour qui : « d’un homme à distance, on ne voit pas les yeux ; d’un arbre à distance, on ne distingue pas les branches ; d’une montagne lointaine aux contours doux comme un sourcil, nul rocher est visible ; de même nulle onde sur une eau lointaine, laquelle touche l’horizon des nuages. ». Et pour qui, il est impératif de « distinguer le clair et l’obscur, le net et le flou. Établir la hiérarchie entre les figures ; fixer leurs attitudes, leur démarche, leurs saluts réciproques. Trop d’éléments, c’est le danger de l’encombrement ; trop peu, c’est celui du relâchement. Saisir donc l’exacte mesure et la juste distance. Qu’il y ait du vide entre le lointain et le proche, cela aussi bien pour les montagnes que pour les cours d’eau. »

Quotidien du Peuple : comment voyez-vous cette influence sur La Joconde ?

VEREYCKEN : Il faut bien comprendre, qu’au-delà du mouvement du corps, Léonard chercha à exprimer les « mouvements immatériels » qu’il classe en cinq catégories. La première est le temps car il « embrasse toutes les autres ». Les autres sont la diffusion des images par la lumière, celle des sons et des odeurs, le mouvement « mental » est celui qui anime « la vie des choses » (Codex Atlanticus, 203v-a).

Mais alors, comment peindre ce souffle de la vie ? Formellement c’est totalement impossible car dès qu’on attrape une forme, la vie s’en échappe comme celle d’un papillon qu’on épingle ! Pour y parvenir, sculpteurs, poètes et peintres doivent créer une ironie, une ambiguïté que le grand penseur Lyndon LaRouche (1922-2019) a exprimée en anglais comme mid-motion (un « moment d’entre-deux »), révélant le potentiel d’une transformation potentielle à un moment donné, pour ceux qui veulent bien le voir.

Or, regardez le visage de la Joconde, rempli de paradoxes énigmatiques : un coté de la bouche sourit, l’autre, moins ; un œil est sérieux, l’autre amusé, un œil vous regarde, l’autre regarde au-delà, etc. Ce sourire est indéfinissable car précisément « entre deux ». Va-t-elle sourire réellement ou éclater en pleurs ? L’énigme de son sourire n’aura jamais cette force sans le paysage encore plus énigmatique sur l’arrière plan. Or, la perspective de ce paysage obéit plutôt aux préceptes chinois qu’aux règles rigides de la perspective européenne.

Dans la peinture chinoise, l’interaction entre l’eau et la montagne étant symbole de transformation universelle, différents niveaux peuvent s’enchaîner du type : eau, petite brume, montagne, grande brume, nuage, eau, petite brume, montagne et ainsi de suite. Cherchant à se conformer à la vue humaine, les peintres chinois, dès le Xe siècle, feront appel, non pas à une seule ligne d’horizon, mais à une succession d’horizons accompagnant notre vue là où elle se projette. Or, c’est précisément le procédé mis en œuvre par Léonard dans La Joconde où les horizons se succèdent. A gauche de la figure, la ligne d’horizon s’établit à la hauteur des narines ; à droite, au niveau des yeux, le tout perturbant suffisamment nos habitudes visuelles pour que notre esprit s’ouvre à ce que Léonard jugeait essentiel : l’âme vivante de La Joconde.

English version (via google translate)

Leonardo Da Vinci’s « Mona Lisa » resonates with time and space with traditional Chinese painting



People’s Daily, Paris, December 17 (Reporter Ge Wenbo) This year marks the 500th anniversary of the death of Da Vinci. Belgian printmaker, art historian and art critic Karel Vereycken, who has lived in France, recently accepted an interview with a reporter on the Internet explaining his experience in studying Da Vinci’s painting techniques for many years, and he believed that the painting of « Mona Lisa » is similar to the ancient Chinese painting technique.

In his view, many people use a « European-centric » standpoint to attribute perspective to Western originality and ownership, which is wrong. Through observing the paintings of ancient China, especially the Song Dynasty, Vereycken proposed that China was the pioneer of perspective. The works of many European artists including Da Vinci in later generations could resonate with ancient Chinese painting theories and techniques.

People’s Daily: How do you think Chinese painting inspired perspective?

VEREYCKEN: From the 6th century onwards in China, some art works not only recorded literary practice, but also inspired more active painting art. The « six methods » proposed by Xie He, a well-known painter and literary theorist in the Southern and Northern Dynasties of China, need to be both « spiritual and vivid » and « appropriate ». Song Dynasty painter and calligraphy connoisseur Guo Ruoxu wrote in his « Pictures and Wenwenzhi »: « The character has become high, and the charm must be high« ; This obviously transcends the « technical » level of painting and sublimates into the spiritual and moral realm. It broke through the simplex system and pursued the vitality from the inside to the outside, and became an important theoretical basis of perspective.

People’s Daily: How does this relates to Da Vinci’s painting techniques?

VEREYCKEN: In my 2007 article « Da Vinci, the painter who captures movement, » I pointed out that the artist was eager to paint scenes of movement and change. Da Vinci agreed with the famous quote of the Greek philosopher Heraclitus, « Only ‘change’ in the world is eternal. » However, it is not the form of the objects or their time and space that must be grasped, but the appearance of them at a given moment in the process of change, which requires a deep understanding of the reasons for the change.

In his Song of Jingyinyuan in the Song Dynasty, Su Shi proposed that human beings, poultry, palaces, houses, utensils, and things used often have their forms. As for mountains and rivers, rocks, bamboo, firewood, flowing water, waves, smoke, and clouds, although they don’t often exist, they have their essence. I found that Su Shi’s concept of pursuing essence and value change coincided with Da Vinci’s idea of ​​seeking movement.

The Tang Dynasty poet Wang Wei expounded his understanding of perspective in his « Landscapes and Landscapes » in more detail: « A distant man has no eyes, a distant tree has no branches. A distant mountain has no stones, faint like eyebrows; Yun Qi.  » Make a detailed description of the space, layer, density, and sharpness of the picture« . This also fits perfectly with the « air perspective » adopted by Da Vinci.

People’s Daily Online: How does this appears in Da Vinci’s Mona Lisa painting?

VEREYCKEN: In addition to physical movement, Da Vinci also tried to express a « non-material movement », which he divided into five categories. The first is time, because it « contains everything else, » and the other is the spread of light, sound, and smell. In his view, these non-substantial movements just made things full of life.

But how to portray this vitality? It is impossible to rely only on the fixed form, because holding on to the form is like trying to catch a beautiful butterfly but nailing it to make a specimen, and vitality is lost. Sculptors, poets, and painters must create irony, contradiction, and ambiguity in their works, as the great thinker Lyndon LaRouche called « intermediate states » to reveal potential movements and changes.

The face of Mona Lisa is full of mysterious « contradictions »: one side of the mouth smiles, and the other side smiles slightly; one eye reveals a serious look and the other eye expresses pleasure; One eye is looking at you, the other eye is over you, and so on. Mona Lisa’s smile is difficult to define because it happens to be in the « middle state ». Does she really smile or cry? Her smile has such a charming power because the scenery behind her is more charming. The perspective of this landscape is closer to the rules of Chinese painting we described earlier than to the rigid rules of Europe at that time.

In Chinese painting, the interaction between water and mountains is a symbol of universal transformation, which can link different levels of mountains, water, and fog. Starting from the 10th century AD, Chinese painting seeks a structure consistent with human visual experience. Instead of using focal perspective, it has created and used scatter perspective produced by changes in line of sight projection. This perspective exists precisely in Da Vinci’s Mona Lisa. On the left side of the character, the line of sight is at the height of the nostril, and on the right side of the character, the horizontal line rises to the corner of the eye. This way of breaking the conventional perspective allows us to feel the lively life and lively soul of Mona Lisa, listening to the resonance between the painting and traditional Chinese painting through time and space.

Merci de partager !
       

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