Dialogue Between Apsara and Angel (2015)

Dialog Apsary z Aniołem 2

Chinese painting paper, gold, bronze, Xinjiang’s Kizil soil, mineral pigments. 360×270cm, May 2015.

This artwork received the Golden Award from the Chinese Painting Department at China Academy of Art in Hangzhou, Graduate Exhibition 2015. It was the first time in history that a foreign student was awarded gold at this most prestigious department.

The painting merges together East and West in various ways. Suspended underneath the Heavens, Buddhist Apsara and Christian Angel are conducting a dearest, wordless dialogue.

Gigantic size, composition and perspective of the artwork references western plafond paintings, eastern Buddhist cave art and Thang-ga (唐卡). The perspective leads the viewer’s eye to the centre of the painting where a golden circle represents divinity and faith. According to the Far Eastern painting tradition, the artwork is mostly linear; however, rich and pure colours are from the Western art. Although worked with female models, the character of the Apsara is strongly based on conceptualized images from Kizil grottoes in Xinjiang, China, while the angel is more of an imaginative realistic figure with androgynous features.

The Christian tradition is represented in the painting by St. Peter’s Basilica with the colonnade, Prague’s Cathedral (with Cologne Cathedral’s features) and an old church in Kroscienko nad Dunajcem (my hometown). Buddhist tradition is depicted by famous ancient religious art sites in China – Dunhuang, Kizil, Longmen Grottoes, Datong Hanging Temple. Skies and clouds, initially different from each other, eventually merge into one.

Different worlds, cultures, religions, etc. seem to differ greatly, but all have the same foundation. Thus, people are always able to communicate, find a common language, and reach harmony with each other.

Stages of work:

《飛天與天使對話》360 × 270cm, 纸本,金,铜,新疆克孜尔泥土,矿物颜料。

作品结合中西方的藝術體系。懸浮于天下的飛天和天使進行充满博愛的對話,表示在不同的世界之間可以找到共同語言。畫面布局透視和顏色搭配联想到西方教堂穹頂壁畫。線條及畫法突顯中國繪畫元素。 左邊代表基督教文化:梵蒂岡聖彼得大教堂,布拉格/科隆教堂,作者老家的教堂。右邊代表佛教文化:敦煌莫高窟,新疆克孜爾石窟,龍門石窟,大同懸空古寺。不同的背景逐漸融合,最終成為代表信仰的金光。黃金是西方和東方對神聖的共同表現方式。


Final pencil draft/完整铅笔稿:

Apsara and Angel a dialogue

Graduate exhibition, June 2015, Hangzhou: