As an ancient art form, lacquer painting is traditionally applied to wooden surfaces, rarely used with other materials. However, the recent lacquer works by artist Feng Linggang, which use rice paper as the medium and landscape as the subject, offer a refreshing new take. In this series of landscape-themed works, Feng Linggang fully exploits the unique characteristics of lacquer art, while incorporating traditional Chinese painting techniques such as outlining, brushing, dotting, and staining. He blends the fluidity and rich colors of lacquer with the unique rendering effects of rice paper, creating a mysterious and dreamlike world.

Unlike traditional landscape paintings, these works present a distinctly modern atmosphere in both their composition and the depiction of mountains and rocks. Notably, the extensive use of blank space and the abstract textures of color allow the viewer to enter an imaginative space full of wonder, with an atmosphere that evokes the poetic idea of “riding the cloud’s breath, controlling the flying dragon, and traveling beyond the four seas.”

The landscape imagery is central to Feng Linggang’s lacquer painting work. He does not focus on the shapes and directions of the mountains and rocks but instead emphasizes the spirit conveyed by the landscapes—whether tranquil, solemn, thick, or light, they stand full of vitality on the canvas. Feng Linggang infuses his thoughts into these silent mountains and rocks, expressing his emotions toward nature and reflecting on traditional culture through varying colors and the subtleties of ink, from light to dark, dry to wet. As Confucius said, “The virtuous enjoy the mountains,” signifying that the mountains, as friends, carry a deeper meaning within the tradition of Confucianism.

In recent years, Feng Linggang has made various attempts in the field of lacquer art, achieving remarkable results while constantly innovating in both materials and creative content. This exhibition presents his new paper-based lacquer paintings with landscape themes, marking a significant breakthrough in his lacquer painting journey.

Text:Ming Chen