Mountain Soul No. 2
Mountain Soul No. 2 Mountain Soul No. 2 Mountain Soul No. 2 Mountain Soul No. 2 Mountain Soul No. 2

Master

Mountain Soul No. 2

Artist Yang Fuxu
Creation Date 2010
Material Oil on canvas
Size 40 × 50 cm
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Current total $3,010.00

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  • Free shipping Included worldwide.
  • Secure checkout Encrypted payment.
  • Unique original Only one available.
  • Certificate Authenticity document.
  • 14-day returns After delivery.

Artwork details

Analysis and context

Artwork Notes

Painting analysis

The canvas is vertical, but the mountain does not climb — it presses down and forward. A mass of near-black grey dominates the lower third, built with short, heavy strokes laid one over another so the surface itself becomes thick, almost geological. Above this weight, three or four ridge-lines step backward in lighter greys, each ridge thinner than the one below, each separated by a hair-thin line of exposed canvas that reads as mist or gap between stone slabs. The farthest peak is barely a mark — two or three strokes of pale grey on white, more suggestion than form.

The sky is not painted so much as allowed to remain. Yang Fuxu has worked the mountain edges wet-on-wet in places, softening the boundary so rock and air bleed into each other, while in other passages the edge is crisp — a palette knife drawn hard against a still-tacky underlayer. This alternation between soft and sharp gives the ridge its internal tension: the mountain is simultaneously dissolving and holding its shape. A faint blue-green appears only in the mid-ground ridges, barely distinguishable from the surrounding grey, as if a memory of colour rather than colour itself.

What separates this painting from its companion, Mountain Soul No. 1, is the method of reduction. Where No. 1 attacks the same subject through colour collision — blue, green, white, yellow in dense blocks — No. 2 strips almost everything away until only tonal weight remains. The approach recalls Anselm Kiefer's restrained early landscapes, where the paint matter itself carries the emotional load. Oil on canvas, 40 × 50 cm.

Theme

Style and context

Yang Fuxu's *Mountain Soul* series operates at the intersection of Chinese landscape painting tradition and contemporary oil technique. The stacked mountain motif — peaks receding through atmospheric layers of diminishing opacity — directly echoes Song dynasty shan shui compositional logic, where depth is constructed through tonal gradation rather than linear perspective. This is not imitation but translation: the same spatial philosophy rendered in an entirely different material language.

The restricted palette aligns the work with a broader current in contemporary Chinese landscape painting that privileges tonal concentration over chromatic display. Artists working in this vein — including Zhang Xiaogang's earlier grey landscapes and the Guangxi Academy's muted naturalism tradition — treat monochrome as a deliberate act of reduction rather than a technical limitation. Yang Fuxu's contribution to this lineage is his insistence on physicality: the foreground's impasto ensures the viewer never forgets they are looking at paint, at material, at labor.

His training at the Central Academy of Fine Arts grounds the work in academic rigor, but the paintings resist academic conservatism. The 'Homeland' and 'Duijiagou' series established Yang Fuxu's preoccupation with earth and memory; the *Mountain Soul* works extend that inquiry from the intimate close-up to the panoramic distance, from soil beneath the hand to horizon beyond the eye.

Artist Profile

Artist introduction

Yang Fuxu (b. 1980) trained at the Guangxi Academy of Arts before completing advanced studies at the Central Academy of Fine Arts in Beijing and the China Federation of Literary and Art Circles' programme for emerging cultural leaders. A member of the Chinese Artists Association, he is recognised among China's new literary and art community — a designation for artists outside the traditional state academy system who have achieved national prominence.

His exhibition record spans more than a decade: selections for the Fengyu Southwest exhibition (2013), a Bronze Award in the New Wheat Field programme (2019), and inclusion in the national Era, Portrait exhibition (2023). His paintings are held in private collections across China.

His practice is organised around several thematic series — the Homeland and Duijiagou paintings explore rural earth through intimate close-up perspectives, the Dancer series anthropomorphises trees as carriers of childhood memory, and the Brilliant Night works carve luminous passages from dense layers of darkness. Across all series, his painting balances rootedness in Chinese soil with contemporary formal experimentation.

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