Selected Writings (abstracts)
Andrew Wyeth and the Persistence of Place
Abstract
This text reflects on Andrew Wyeth’s Christina’s World through a sustained encounter extending beyond the museum. Rather than focusing on iconography or biography, the essay considers how a painting continues to exist in the viewer’s memory and experience across time and space. By revisiting the physical location represented in the painting, I examine how artistic meaning is not confined to the moment of viewing but develops through repeated acts of recollection and spatial association.
The work proposes that the significance of certain paintings lies not in narrative content but in their capacity to preserve a mode of lived time. Wyeth’s painting records an ordinary, repeated action rather than an event, allowing the image to function as a stable reference point in the viewer’s memory. Through this perspective, the essay approaches painting as a medium that sustains presence beyond historical time, contributing to the broader question of how artworks acquire lasting historical meaning.
Original text available in Chinese.
Fivefold Light: A Model of Ontological Generation in the Painting of Cen Long
Unpublished research paper
Abstract
This paper proposes a structural interpretation of light in the painting of Cen Long, arguing that light in his work functions not as illumination, symbolism, or atmospheric effect, but as a generative condition of being. Based on long-term studio observation and visual analysis, I identify a five-part progression of light—field light, ontological light, vertical manifestation, self-generated light, and directional pull—through which existence is gradually established within the pictorial space.
Rather than analysing iconography, the study examines how material operations of oil painting (layering, glazing, and density of pigment) produce different modes of visibility. The paintings do not depict spiritual meaning through narrative or religious symbols; instead, spiritual significance emerges from the restructuring of the conditions of seeing. Light becomes a structural mechanism through which figures first appear, then stabilise, and finally acquire orientation toward the future.
By approaching painting as a medium that materially generates presence, the paper suggests a framework for understanding how contemporary figurative painting can sustain ontological and historical meaning without returning to traditional religious imagery. The model therefore contributes to a broader art-historical question: how artworks acquire lasting significance beyond stylistic classification.
Original text in Chinese. Full manuscript available upon request.
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