Shan Dan

Professor of Central Academy of Fine Arts, Famous Art History Theorist, Inscription of Shao Dazhu

《The South China Sea Guanyin》

《Asked the West》




       Shan Dan, he familiar with the main claborate-style painting, calligraphy, poetry, painting, good at abstract ink painting beauty.
       First of all, I'm not a theorist. I just feel the artistic feeling of a work from the perspective of a painter. Reading Shandan's works is very comfortable, there is no boundaries, he gives the viewer a fantasy, from which everyone can see their own world. He uses abstract forms of expression to strengthen an image, which is thousands of eyes and thousands of states. Is it not a Buddha nature?
       The first acquaintance with Shandan was at the Art Center of Renmin University of China, where he was taught by Mr. Wang Chao. In the impression, he was shy, with few words but a good heart. Later, I heard that he went to Qinghai and converted to Buddhism. His name was Shandan. In the impetuous reality, he found such a door. Perhaps it was the holy place where he longed to settle his soul for a long time. From then on, Buddha had a good deed with ink spirit. Painting is born from the heart. Through an artistic work, we can see the author's mind and ideological realm. Shandan's abstract works of ink and wash are the monologues of his inner world. His world is pure. He interprets the beauty of heaven with the realm of ego, which is highly Buddhist.
       Chinese culture is inherited in one continuous line, and Chinese painting stresses the relationship between teachers and inheritors. Ancient teachers, near teachers; but more importantly, as Zhang Bi said in the Tang Dynasty: outside teachers, learn from the source. Art is unique and can not be replaced by duplication. Teachers can understand art categories and manifestations more intuitively and find a root for personal artistic growth. But I think real artists are not limited to inheriting certain skills, but grow into a new art form in the accumulation of traditional culture. This kind of form is formed by the author's unique accomplishment, which is based on the author's extensive learning of many advantages. Shandan was taught by Mr. Wang Chao, Wang Chao's landscape painting by Mr. Li Keran. Li Keran is a master of modern landscape painting and a master of landscape painting by Mr. Huang Binhong. In this teacher-inheritance relationship, Shandan has a profound understanding and understanding of the inheritance of landscape painting, and at the same time, he has his own subjective pursuit of the development of landscape painting.

       Shandan's ink and wash works are all-inclusive, not rigid to the line and surface division, from the layout at first glance like a chaotic unity of Pangu Kaitian, the details are rich and changeable, abstract but not empty. From the form of expression, he can open his brain through his senses. Every viewer can swim in his own mind by means of a piece of space. This is Shandan's artistic characteristics. His works are tolerant, fraternal, magnificent with artifical creation, magical with ghosts and axes, and have a more possibly formal aesthetic sense of all things.
It is undoubtedly the process of the mind and the pure thought that collides with the Buddha nature of the good Dan. I think it is also because of the Buddha nature of Shandan that he achieved his ink image.
The author: Ruo Xiansanren