Qin feng biography wife

Merging an ink-and-wash and calligraphic style with a western abstract aesthetic, established Chinese contemporary artist Qin Feng re-interprets the age-old medium of ink painting infusing it with a new life and colour. How would you describe the interaction of Eastern and Western traditions in your artwork? How do they relate to each other?

Qin feng cultivation

There are three parts to it. The first part would be the physicality of my upbringing. There are more than 40 ethnicities active in that region [Xinjiang Autonomous Region] and more than 20 languages spoken on a daily basis. Even though it is a part of China and they all speak Chinese, the entire culture, the living environment and culture, the way of life, the mentality itself, is very Eurasian, because you have Mongolians, Kazakhstanis, Russians and so on.

So, before I reached the age of 20, I was basically living abroad in that region. We were all clustered together. All those religions, Muslim, Eastern Orthodox, etc. Second, there was a very stark contrast when I moved to Shandong, which is really Chinese. That is where Confucianism was born, and there were these very traditional and historical Chinese thoughts and philosophies.

That had a very huge impact.

Hedonist sovereign novel

The craftsmanship and artistic philosophy that all that espouses is what I acquired. And then you think about the political circumstances of that day and age when China was on the brink of modernisation. It was a very turbulent decade [the s] and you had the rise of scholar-artist students who were trying to strive for a new China. That way of thought is especially important, because that was a really crucial period of time for the enlightenment in China after it was established in and after Deng Xiaoping and all that.