ᡯሎúú˖ ڍ ގ ᓧశᐎ ࡘ ဗ ڣ Ὃӑ̚ᄆᄣ ߔ ᓧశᯝNj ގ ᭻லྱeᓩಪॳeለѽ АধᎾశᯝ "OFYIJCJUJPOWJFXGSPN5IF%JTUBODF"$IJOB/PSXBZ"SU&YIJCJUJPO 8IJUF#PY "SU.VTFVN #FJKJOHBOE7FTU"HEFS'ZMLFT.VTFVN /PSXBZ
Gao Xiang’s works pull us back to the remote Qin and Han Dynasties, make us recall the astrology of the Han Dynasties and the terracotta of the Qin Dynasties. On the surface, these themes are far removed from contemporary Chinese people, and viewers without a background in Chinese culture might find the images YHU\GLI¿FXOWWRGHFLSKHU,QIDFWWKHVHZRUNVH[SUHVVWKHVSLULWXDO yearning of contemporary people, a yearning for a link between secular individual life and sacred cultural tradition that gives the individual life a sublime spiritual dimension.
倄㔀⮰҈৭ᄲИ៵ఊ ݜ 䖑䔈⮰⼒ⅵᬢЏ喏䃕Иᘟ䊣ⅵЏ ⮰ᭋ䆍႒স⼒᱉⮰ ڡ 侘ӽȠ㶔䲎̶ⰷ喏䔅χ ڱ ქ⻧ᑿЏ͙ Ϧ䲊፤䖑䔈喏⇍ᰵ͙᪳ ࡂ 㗸ᮛ⮰㻮уᒴ䯪㼏䄧ȠѲ᭛喏 䭱̶倄㔀⮰҈৭㶔䓪⮰᭛ᑿЏϦ⮰̬⺊䃵Ⅾ喏࢟϶๕ ຮҁ䃕͂ԃ⮰͖ѿ⩋̺⺊⮰᪳ ࡂ ь㐋㖀㈧䊣Ბ㔸䉷δ͖ ѿ⩋Бሳ倄⮰⺊㐠ᏒȠ
ᦄ㜖 ࡃ Ϙ๓႒㒺႒̺㒺㗞͙ᓯ᪅ᢴᒙ䨷 ȧ䌉⻧ÿÿ ۅ ͙ᡖ༭㞦ᱛტ㖀ᆁͷ ݹ Ȩ喏 Ꭰ
From the essay "Distance: Before the China-Norway Art Exhibition" by Peng Feng, professor of aesthetics at Peking University, 2011
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