Printmaking titled "Collection Mantis 螳…" by Jiang Yi Jiang Yi, Original Artwork

Collection Mantis 螳螂系列（三） (2015) Printmaking by Jiang Yi Jiang Yi

Not For Sale

Sold by Moderneast Gallery Da Lian Xian Dai Dong Fang Hua Lang

Certificate of Authenticity included

This artwork appears in 1 collections

Original Artwork Printmaking,

Artworks classification

Original Artwork

Original Artwork refers to any work that is considered authentic and not a copy or imitation of the original works of an artist. Original artwork can be any type of painting, sculpture, performance, or other media. There are many types of original media. Mixed media includes oil, acrylic, and watercolor paintings. For workshop paintings that bear evidence of master craftsmanship, this attribution must be further qualified. While they may be less valuable for different reasons, reproductions and copies have had a tremendous impact on our experience. They reach a greater audience than originals and act as a tonic against commodification. Original Artwork could also refer to the first work, which is always preceding all others. It could also refer to a prototype or a model from which other works can be made. Each work bears great similarities to the original.
Dimensions Height 15.8in, Width 11.8in
Categories Printmaking under $1,000

Talking about Mantis by Chance

I started to paint mantis by chance in 2007. I fed a mantis as a pet. I stayed with the mantis everyday, took it for a walk. I had great fun, but my friends laughed at me.
In fact, many classics have stemmed from mantis since ancient times. Of course, I can take the mantis for a walk if I can take a dog for a walk, which may sound more elegant and romantic.
I will develop a friendship with the mantis amid walking. Mantis is sneered due to prejudice even in nowadays, which is so undeserved.
A mantis that tries to stop a chariot is courageous, a mantis stalks the cicada in order to survive, the oriole behind it just shows an ecological balance, in which mantis may be another image. If life can be passed on, it will indicate a perpetual value.
I read a story about mantis and a Japanese person who wrote the story, which remains fresh in my memory.
In the story, he mentioned that he felt wronged at school during his childhood, but he couldn’t tell his parents. When he was very painful, he met with a mantis on his way home. He poured out his grievance to the mantis, and the mantis looked at him and listened carefully his last sigh. It seemed that he met with a savior that liberated him from pain.
The same mantis has different stories in different countries and regions, and contains different implied meanings.
However, mantis is still mantis, it is weird but cute.
I caught the worm, fed it, walked it, took photos and painted for it. Mantis became the theme of my life, and I was busy with it. Also, I finished some works about mantis.

不期而遇话蟷螂

2007年，一个偶然的契机，我开始画螳螂了。还养了一只螳螂，朝夕相处，经常带出去兜圈散步，可谓乐在其中，却也成了朋友们的笑话。
其实，自古螳螂多经典。可以溜狗，当然也可以溜螳螂啦，也许更儒雅风流些。
溜螳螂也会溜出感情的。一些偏见弄得螳螂至今还抬不起头来，想起来也很冤枉。
如果说螳螂挡车其勇可嘉，如果说螳螂捕蝉是为了生存，黄雀在后也只是生态平衡的一种现象而已，螳螂可能又是另外一种形象。如果说生命可以传递的话，更有一种永恒的价值。
当时还看到一篇日本人写的自己与螳螂的故事至今还记忆犹新。
他说自己童年的时候，在学校受了很多委屈又不能对父母说。这种极度痛苦的时候，他在放学路上遇到了一只螳螂。他开始向螳螂倾叙自己内心的委屈，螳螂一动不动地望着自己听完了自己最后一声叹息。他真的像是遇到了救星，从痛苦中得到了解脱。
不同的国度，不同的地区，同样的螳螂却会有不同的故事，不同的寓意。
但螳螂还是螳螂，怪怪的，很可爱。
抓虫喂食，散步兜圈，摄影写生，一时间螳螂成了我生活中的主旋律，忙得不亦乐乎，也留下了一批螳螂的作品。

－－江屹 JiangYi

Artist represented by Moderneast Gallery Da Lian Xian Dai Dong Fang Hua Lang

Jiang Yi Jiang Yi

China

Profile： Academic doctor, representative of Tokyo school of painting, president of Japanese East Art Academy As the Chairman of International Alliance of East Art, Consultant of Japanese[...]

Profile：

Academic doctor, representative of Tokyo school of painting, president of Japanese East Art Academy

As the Chairman of International Alliance of East Art, Consultant of Japanese Seal Cutting Association, he was born in Hubei in 1958, and graduated from Wuhan University in 1982. He was sent to study in Japan as a state-financed student by
Ministry of Higher Education in 1984. Jiang Yi who is a reprehensive of Tokyo school of painting is active in Japanese
painting circle. He was selected as representative of modern artists in Asia by Museum of Modern Art Saitama in early 1990s. He, together with Xu Bing and Cai Guoqiang et al., was invited to attend Modern Art Tour in Asia. He was also selected, by Taiwan Hou Zhengting cultural, educational and public welfare foundation, as one of the 14 world-renowned abstract artists together with Zhao Wuji and Zhu Dequn et al.

As an artist living in Japan, Jiang Yi is referred to as “Leonardo da Vinci-style personage”. He is the person like “abacus talking to roses” as mentioned by Malinowski, historian of science and technology. He is good at everything, including painting, calligraphy, seal cutting, mathematics and writing. He has lived overseas since 1980s. His works integrate the characteristics of both oriental and western paintings. His painting style includes abstract and concrete features and integrates realistic painting and freehand brushwork. He paints in a merry and lively manner, which shows profound artistic conception where rules are contained in chaos while preciseness is implied in ebullience.

Through repeated verifications amid his long-term painting practice, Jiang Yi, from the perspective of a natural scientist, put forward the theory of three space statement systems of perspective, color point and fractal dimension. These three systems
constitute the basic elements and essential laws of painting space. He also teased the theoretical foundation of oriental esthetics dominated by savvy, and firstly revealed the essential laws behind the ink system of Chinese painting. He is the initiator for interpreting Chinese painting dimension. Jiang Yi put forward Theory of Chinese Painting Dimension for the first time. As mentioned by Jiang Yi: “fractional dimension theory provides an unprecedented vision for us to resurvey the problems of painting space”, “the completion of one form in Chinese painting history must be the formation of a fractional dimension system. A real innovation is bound to be the transition of fractional dimension system.” This theory system is the core of the theory of three space statement systems. It breaks the cognitive limit in Chinese painting space that has lasted for a thousand years, which has profound historical significance for reconstructing world history of painting as well as establishing the position and value of Chinese painting.

Main Exhibitions ：

1991 Personal Exhibition in Seoul, Korea
1992 Exhibition of Modern Art Tour in Asia at Museum of Modern Art Saitama, Japan,
Personal exhibition at Taipei Qingyun Art Center, Taiwan
1993 Researching modern art in Tokyo National University of Fine Arts
He was invited to the exhibition of planning of Chinese modern fine arts Abstract Modern and Beautifulness held by Taipei cultural and educational foundation, Taiwan
1994 Personal exhibition at Museum of Modern Art Saitama, Japan
1995 Making the embossments for the walls of the main hall of Chiba City Museum of Art biennial exhibition Fine Arts Exhibition of Wind
1996 Personal exhibition at American CLASSIC DESIGN Gallery, Washington D.C., the US
Personal exhibition at French DU TAUR Gallery, Toulouse, France
1997 Tokyo International Modern Art Exhibition, Tokyo
Exhibition of Modern Japanese Fine Arts sponsored by Asahi Shimbun
Tokyo Metropolitan Art Museum and Kyoto Municipal Museum of Art
International Modern Art Los Angeles Los Angeles, the US
1998 Japanese Tachikawa International Art Festival Tokyo
Korean Exhibition of International Modern Art Seoul, Korea
1999 Painting 48 frescos for Kyoto Xinhua Temple
Japanese NHK TV broadcasted JAPAN THISWEEK and special collection of Mr. Jiang Yi’s Painting for Frescos for Kyoto Xinhua Temple
2000 He was employed to paint large frescos for Chiba municipal organization
2002 Personal exhibition at Nihonbashi Mitsukoshi, Tokyo
Personal exhibition at Tokyo Matsuya Ginza Tokyo
2003 (Finance) acted as trustee of Chiba Cultural Rejuvenation Consortium
Personal exhibition at Hanshin Department Store Personal exhibition at Tokyo Matsuya Ginza
2004 Personal exhibition at Chiba City Museum of Art
2005 Personal exhibition at Nihonbashi Mitsukoshi, Tokyo
Personal exhibition at Ginza SILKLAND Gallery Tokyo
Exhibition of Modern Chinese Ink Paintings Ueno National Museum of Art
Personal exhibition at Chiba TYO Special Gallery
Personal exhibition at SOGO Hachioji Fine Art Gallery
Personal exhibition at Ginza Silkland Gallery
Personal exhibition at Matsuzakaya Ueno Tokyo
2007 First Exhibition of Chinese Rock Color Arts National Art Museum of China Beijing
Exhibition of Tokyo School of Paintings Tokyo O Gallery Tokyo
Exhibition of Modern Chinese Ink Paintings The National Art Center,Tokyo
Personal exhibition at SOGO Kawaguchi Art Gallery Saitama
2008 Exhibition in Honor of the 30th Anniversary of China’s Reform and
Opening-up National Center for the Performing Arts Beijing
2010 Personal exhibition at Chiba TYO Special Gallery
Personal exhibition at Ginza Silkland Gallery
Eastern International Fine Arts Exposition
2011 Eastern International Fine Arts Exposition
Chiba City Museum of Art Exhibition of Wind on the Sea Shanghai
2012 Personal exhibition at Ginza SILKLAND Gallery Tokyo
Exploring Ancient and Modern Art by Using the Souls of Ink and Paper, Jiang Yi’s large exhibition of dimension Chinese ink painting Dalian Art Gallery Dalian
2013 Personal exhibition at Ginza SILKLAND Gallery Tokyo
Eastern International Fine Arts Exposition Chiba City Museum of Art
2014 Art Beijing 2014 Beijing Agricultural Exhibition Hall Beijing
2014 Eastern International Fine Arts Exposition Chiba City Museum of Art
2014 Beijing Poly Auction in Autumn Contemporary Ink Paintings II
2015 Personal planning exhibition at Ginza SILKLAND Gallery Tokyo