Established

Lotus

Artist Yang Lixin
Creation Date 2006
Material Oil on canvas
Size 40 x 40 cm
Category original
Make this artwork part of your collection Available

Current total $356.00

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Perspectives

A closer look

Artwork Notes

Art appreciation

A single lotus fills the centre, its open corolla spreading towards every side and its dark seed centre set slightly left of the middle. Large petals overlap one another and conceal the stem completely. Lotus pads are cropped by the surrounding edges, suggesting that the pond continues beyond the frame. Fresh green across the upper field throws the blossom forward, while dark water and leaf shadows hold it close to the viewer.

Each petal is made with one or several broad strokes of cream, pink-violet, ochre and rose. Loaded paint preserves turns of the brush and ridges along the edges; dark brown and olive tighten the centre. The leaves become broad green planes, with only a few angular marks indicating veins and folds. This economy keeps the flower recognisable while allowing large colour shapes to establish the rhythm.

Yang has repeatedly painted lotus ponds, Jiangnan water towns and natural subjects, combining an impressionistic sensitivity to light and colour with the selective looking of Chinese ink painting. Here she moves close enough for the open corolla to press against the picture plane. The arrangement supports her study of warm and cool shifts within one flower, while simplified leaves and open edges translate the restraint of ink painting into oil.

Theme

Style and context

Chinese flower-and-bird painters have returned to the lotus for centuries, using crossing stems and leaves, changes in wet and dry ink, and surrounding blank space to describe growth and carry associations of integrity and refinement. Modern oil painters have also used the subject to investigate colour, thickness and the simplification of observed form. Lotus preserves recognisable petals and a seed centre while recasting the pond through impasto and broad planes.

Yang's training at the Lu Xun Academy of Fine Arts provides the structural foundation that keeps the single enlarged bloom coherent. Her lyrical realism gives priority to light, colour and restraint: leaves flatten into a supporting ground and temperature changes across the petals take the lead. The work connects the physical substance of oil paint with the attentive gaze of Chinese flower painting without losing the identity of the lotus.

Artist Profile

About the artist

Yang Lixin was born in 1944 in Anshan, Liaoning, and graduated from the Lu Xun Academy of Fine Arts in 1966. She is recorded as a member of the Liaoning branch of the China Artists Association and of the Shenzhen Artists Association. Her early training gave her a firm grounding in drawing and colour.

After moving to southern China, Yang increasingly painted Jiangnan water towns, lotus ponds and other natural subjects. She kept the underlying forms clear while allowing contours to loosen through layered colour, broken brushwork and changes in light.

Her Water Town series shows this development particularly clearly. Architecture and waterways remain recognisable, but atmosphere and reflected colour carry much of the composition. The same balance of observed form and freely worked colour also informs her flower paintings and still lifes.

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