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Tong Haiming + Wu Run Jia Exhibition
Moon Gallery & Studio
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Artists
Tong Haiming, Wu Run Jia
Tong Haiming was born in 1980 in Datong City, Shanxi Province, China, and is currently a member of the Tibet Oil Painting Association and the Tibet Artists Association. In November 2008, Fang embarked on a solo trip to Lhasa. At that time, various traditional festivals of different ethnic groups were being held, and people from various Tibetan areas such as Sichuan, Gansu, and western Tibet gathered in Lhasa to pray, rubbing their bodies against the ground in unison. Fang was deeply moved by the fervent pilgrimage scene and decided to stay in Lhasa to paint. His life there continued for 15 years, during which he met his destined partner and built a family in Lhasa.
Tong was initially fascinated by the external elements such as the unique costumes, decorative patterns, and color combinations of the ethnic groups. Gradually integrating into the lives of the local people, he began to focus on the rhythm and lifestyle of the Tibetan people and individuals from different social classes around him.
Before 2015, the Tibetan Chen Tang Town still lacked roads, and a population of less than 3,000 lived a primitive life. In the Sherpa region, traditional religious rituals are still performed, usually for blessing, dispelling evil, and purification, with the rituals presided over by the Kanchoma. The Shaya ritual is a complex and large-scale traditional Sherpa ritual. Three types of monks are involved in the ritual: the Kanchoma, the Lama, and the Lokimpa. Since the ritual uses the power of fire to communicate with the gods, Tong's paintings often include many elements of fire.
Over the past decade since Tong Haiming began painting Sherpa, he has repeatedly reassessed his expression. The Sherpa, with a population of less than 3,000, are a relatively weak group and have an unknown indigenous culture. As the times change, the cultural symbols and distinctive festival activities of this region are diminishing year by year.
Wu Run Jia's creative activities always revolve around primitive beliefs, ethnic myths, and religious stories. His works frequently feature elements of Chinese ethnic minorities, ancient indigenous people, Buddhist myths seen in the Mogao Caves of Dunhuang, and ancient ritual dances. When dealing with themes of primitive indigenous peoples, he uses materials such as totem linen, mandarin duck feathers, turkey feathers, and grass fibers. When creating themes based on religious myths from Dunhuang and Kucha, he incorporates materials such as clay from the Mingsha Mountain, colorful sands, and local mineral pigments. By decomposing and reconstructing these natural materials, he combines cultural symbols such as Buddhist statues, ethnic totems, and mural elements to create a new artistic language. In his artistic philosophy, even mud exposed to wind and snow connects the past and present with strong vitality.
Every year from August to September, Wu visits the Qiandongnan Autonomous Prefecture in Guizhou Province, China. In this region, ethnic minorities such as the Miao, Dong, Shui, and Yao faithfully maintain their tribal beliefs in nature worship. The annual "Tiaocang Festival" is the grandest ancestral worship ritual for them. Among the villages he visited, the visit to Basha Ancient Village was an unforgettable experience. The ancient teachings of the village state, "People come from nature and return to nature. When they are born, they bring nothing, and when they die, they take nothing." Such mysterious ancient civilizations, with their purest worship of nature, seem like artistic beliefs to him, constantly inspiring him and serving as the source of creativity.
The works exhibited at this time express the spiritual world imagined by ancient Chinese people. Standing on a bridge spanning over 1,600 years, through each piece of work, you can catch a glimpse of the love and hate, imagination of the future, and contemplation of the beauty of the ancients. The longing for inner stability, curiosity about the unknown, and yearning for the future have never been interrupted throughout the ages.
Tong was initially fascinated by the external elements such as the unique costumes, decorative patterns, and color combinations of the ethnic groups. Gradually integrating into the lives of the local people, he began to focus on the rhythm and lifestyle of the Tibetan people and individuals from different social classes around him.
Before 2015, the Tibetan Chen Tang Town still lacked roads, and a population of less than 3,000 lived a primitive life. In the Sherpa region, traditional religious rituals are still performed, usually for blessing, dispelling evil, and purification, with the rituals presided over by the Kanchoma. The Shaya ritual is a complex and large-scale traditional Sherpa ritual. Three types of monks are involved in the ritual: the Kanchoma, the Lama, and the Lokimpa. Since the ritual uses the power of fire to communicate with the gods, Tong's paintings often include many elements of fire.
Over the past decade since Tong Haiming began painting Sherpa, he has repeatedly reassessed his expression. The Sherpa, with a population of less than 3,000, are a relatively weak group and have an unknown indigenous culture. As the times change, the cultural symbols and distinctive festival activities of this region are diminishing year by year.
Wu Run Jia's creative activities always revolve around primitive beliefs, ethnic myths, and religious stories. His works frequently feature elements of Chinese ethnic minorities, ancient indigenous people, Buddhist myths seen in the Mogao Caves of Dunhuang, and ancient ritual dances. When dealing with themes of primitive indigenous peoples, he uses materials such as totem linen, mandarin duck feathers, turkey feathers, and grass fibers. When creating themes based on religious myths from Dunhuang and Kucha, he incorporates materials such as clay from the Mingsha Mountain, colorful sands, and local mineral pigments. By decomposing and reconstructing these natural materials, he combines cultural symbols such as Buddhist statues, ethnic totems, and mural elements to create a new artistic language. In his artistic philosophy, even mud exposed to wind and snow connects the past and present with strong vitality.
Every year from August to September, Wu visits the Qiandongnan Autonomous Prefecture in Guizhou Province, China. In this region, ethnic minorities such as the Miao, Dong, Shui, and Yao faithfully maintain their tribal beliefs in nature worship. The annual "Tiaocang Festival" is the grandest ancestral worship ritual for them. Among the villages he visited, the visit to Basha Ancient Village was an unforgettable experience. The ancient teachings of the village state, "People come from nature and return to nature. When they are born, they bring nothing, and when they die, they take nothing." Such mysterious ancient civilizations, with their purest worship of nature, seem like artistic beliefs to him, constantly inspiring him and serving as the source of creativity.
The works exhibited at this time express the spiritual world imagined by ancient Chinese people. Standing on a bridge spanning over 1,600 years, through each piece of work, you can catch a glimpse of the love and hate, imagination of the future, and contemplation of the beauty of the ancients. The longing for inner stability, curiosity about the unknown, and yearning for the future have never been interrupted throughout the ages.
Schedule | Mar 14 (Thu) 2024-Mar 24 (Sun) 2024 Opening Hours Information
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| Fee | Free | ||||
| Website | https://www.moon-gallery-studio.com/blank/himitsunochi-tongumimei-wu-runka-nininten | ||||
| Venue | Moon Gallery & Studio https://www.moon-gallery-studio.com/ | ||||
| Location | 1F, 2-3-13 Kitaueno, Taito-ku, Tokyo 110-0014 | ||||
| Access | 8 minute walk from Inaricho Station on the Ginza line, 8 minute walk from exit 1 at Iriya Station on the Hibiya line, 9 minute walk from the Iriya exit of JR Ueno Station. | ||||
| Related images | Click on the image to enlarge it |
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