The writer Italo Calvino (1923-1985) in the novel "Invisible Cities", based on the historical fact that the Italian Venetian merchant Marco Polo once arrived in China in the 13th century, fictionalized a traveler. version of The Thousand and One Nights. In the story, Marco Polo describes to the Yuan emperor Kublai Khan one city after another that may exist or may be imagined, providing kings who have not set foot on every inch of the empire, outlining the outline of their empire. Just like Marco Polo in the novel, Han Xiangning uses canvas and paper to tell the story scene by scene by combining reality and fiction with his travels, and he forms his art world in it. Han Xiangning, who was born in 1939, is 80 years old this year. From a general earthly perspective, this is undoubtedly an elder. However, his life and life form is always young. He shuttles between the Three Gorges in Taipei, Taiwan, Dali in Yunnan, China,
and New York in the United States all year round. The geographical distance has never restricted his physical movement. The change of geographical area brings him the nutrients of creative themes. In the long creative process, Han Xiangning has never been afraid to try different creative styles and media. Starting from non-figurative painting in the 1960s; developing famous photorealistic urban landscapes in the 1970s; paying more attention to the subject matter of figures from the late 1970s to the 1980s, shifting from realism Pricing
to abstraction of lines. After the 1990s, he began to create a series of landscape works, and in recent years, he tried to retouch the output of the captured images with pictures. From oil paints, acrylic paints, drawing inks, airbrushes, rollers, brushes, and cameras, he shuttles between different media and tools, expressing what he wants with various visual vocabulary. Among them, Han Xiangning's philosophy in urban and landscape works is particularly intriguing. 1. This city, so close and so far In 1967, Han Xiangning moved from Taipei to New York. When he first arrived in a new field,
his eyes first turned to the microscopic landscape of the city. In his many works in 1971, "Brooklyn Bridge" and "New Jersey Bridge", he used the perspective of looking up to describe the passage that carries people moving between the metropolitan areas, which is like a temple in his writing. of grandeur. His visual focus is on the brackets that hold up the bridge deck, the piers made of rock and cement, and the geometric lines of the metal arch beams, treated with whitened tones, like an overexposed image, holy and serene. Although it is an ordinary New York scenery, it is like a distant sky scenery, as if it is a distant but unreachable place. During the same period, several paintings depicting the typical architecture of Soho, New York (1972), "Soho, New York" (1973), and "Near Prince Street on West Broadway" (1973), also maintained From the angle of looking up, it presents the interlaced light and shadow of various straight lines of the building, and explores the details of the strange city from a microscopic perspective.
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