Yang Fuxu, 2023, Mountain Soul No. 1, a blue-green impasto mountain descending across the centre with pointed tree forms at both sides and a pale yellow-green foreground

Mountain Soul Series — blue green mountain structure and white passage detail

Mountain Soul Series — layered brushwork and expressive colour field detail

Mountain Soul Series — yellow warmth within blue green memory landscape detail

Mountain Soul Series — signature and textured oil surface detail

Master

Mountain Soul No. 1

Name: Mountain Soul No. 1
Brand: Paint For Heart
Price: 2950.0 SGD
Availability: InStock

Artist Yang Fuxu

Creation Date 2023

Material Oil on canvas

Size 40 x 50 cm

Category original

Make this artwork part of your collection Available

Current total $2,950.00

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Perspectives

A closer look

Artwork Notes

Art appreciation

The main mountain occupies the centre and upper half of the canvas. It rises at left and falls in a long curve towards the right. A dark green hollow beneath the curve suggests a valley or a shaded slope; pointed upright forms at both edges read as conifers. The pale yellow-green foreground undulates across the width and supports the darker mass. Depth is compressed, presenting the overall pressure of the mountain without identifying a distant landmark.

Blue, turquoise, dark green and small amounts of yellow are placed directly into one another. Broad strokes push along the ridge and leave long ribs, scraped openings and gathered paint. Thinner horizontal blue marks above suggest cloud or distant sky. Cream and pale yellow abruptly raise the value of the foreground. The restricted palette remains varied because the direction, thickness and resistance of the paint change throughout the mountain.

Yang Fuxu has developed work from remembered homeland, rural textures and tree forms, alongside training at Guangxi Arts University and the Central Academy of Fine Arts. Mountain Soul No. 1 brings these strands together. The mountain retains a stable outline and layered space, while impasto, scraping and large chromatic units turn landscape into material construction. By choosing a close view with few details, Yang concentrates on the way a mountain occupies space and on the capacity of paint to convey its mass.

Theme

Style and context

Since the twentieth century, landscape painters have often simplified mountains into large colour planes and used outline, temperature and texture to organise depth. Such work can approach abstraction while remaining rooted in recognisable terrain. Mountain Soul No. 1 preserves a ridge, hollow, foreground slope and tree-like forms, so it is best understood as a semi-abstract mountain landscape rather than pure abstraction.

“Mountain Soul” is an encompassing title, and the image supplies no named location or legend. The painting is organised by scale, the compressed horizon and dense impasto. Yang accumulates weight through deep cool colours. The bright band separates the near slope, while tree forms at the edges contain the mountain mass. The force implied by the title is materially established through the compressed mountain shape and dense impasto.

Artist Profile

About the artist

Yang Fuxu (born 1980) graduated from the Guangxi Academy of Arts and later undertook advanced study at the Central Academy of Fine Arts and through a China Federation of Literary and Art Circles programme for emerging cultural practitioners. He is a member of the China Artists Association. This training supports both his academic command of form and his continued experiments with material and composition.

His practice includes the Homeland, Duilianggou, Dancer and Brilliant Night series. Homeland and Duilianggou use close views of rural ground; Dancer builds rhythms resembling bodily movement through leaning, crossing and extended trunks; Brilliant Night places artificial light within dense dark layers.

His exhibition record includes Fengyu Southwest in 2013, a Bronze Award in the New Wheat Field programme in 2019 and selection for the national Era, Portrait exhibition in 2023. Across these series, recognisable landscape forms increasingly give way to thick paint, broad colour fields and rhythmic structure.

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