08 Feb Lady Painting Exhibition of Yi-Ping Wang
Graceful Ladies, Gentle Spirits — On the Art of Yi-Ping Wang
Yi-Ping Wang, a native of Tainan, holds a master’s degree from the Graduate Institute of Fine Arts at Chang Jung Christian University. She specializes in meticulous gongbi figure painting, with additional expertise in bird-and-flower subjects. Figure painting is one of the earliest developed genres in Chinese art history. Compared to the more familiar landscape painting of today, figure painting dominated the art scene prior to the Song dynasty. This is largely because figure painting conveys scenes and narratives, offering visual storytelling. Rooted in the notion of “instructing morality and assisting human relations,” early figure painting emphasized didactic values. However, as art came to be appreciated for its aesthetic and emotional resonance, figure painting evolved in both form and content. Among its many expressions, the portrayal of elegant women (shinü) became a significant and enduring motif.
As stated in the Great Learning, “As humans, we naturally delight in beauty.” The admiration of beauty is part of human nature, and beautiful women have long been favored as subjects of appreciation. Unlike portraiture, which focuses on distinctive personal features, shinü paintings embody universal ideals of beauty. Beauty standards, however, vary across eras—consider how the Tang dynasty’s preference for plump, opulent women is evident in Zhou Fang’s Court Ladies Wearing Flowered Headdresses, while Fei Danxu’s willowy, delicate women reflect an aesthetic more aligned with today’s tastes.
In contemporary ink painting, it is now quite rare to see artists who specialize in figure painting. This is perhaps due to the genre’s complexity: rendering a figure convincingly demands skill in depicting facial subtleties and bodily form. Moreover, the supporting elements—backgrounds, furniture, and clothing—though secondary, require meticulous effort. These are precisely the areas where Wang’s work leaves the strongest impression. The beauty of her figures lies not only in graceful appearance but in their inner temperament—something far more elusive. Wang’s women exude quiet elegance, with serene and refined features. Whether adorned in the classical attire of Ming and Qing aristocratic women or the modern elegance of qipao-clad ladies, a consistently gentle and graceful atmosphere pervades her compositions. Her women often have oval faces with smooth, rounded features, delicately arched brows, expressive eyes, slender noses, and softly upturned lips—together evoking an approachable charm. Their proportionate and graceful bodies embody a strength within softness: idealized images of beauty that is poised but not ostentatious, gentle but not weak.
Beyond physical features, their actions and surroundings are integral to conveying their refined character. Wang places great emphasis on clothing and background details. Her subjects fall into two categories—historical ladies and modern women—each placed within settings that reflect their era. In Seeking Verses Beneath the Paulownia Tree, a lady sits at a stone table, one hand holding a brush, the other resting on her sleeve, absorbed in the search for inspiration. She wears a pale outer robe and a deep red undergarment, with intricate floral patterns on her lavender shawl. Her transparent jade bracelet, pearl earrings, and hair ornaments depict the cultivated grace of a talented woman from times past. In Leaning on the Railing in the Shade of Flowers, two qipao-clad women are the focal point. Through a round window, one in white gazes into the distance while the other in pea green flips through a book. Their calm expressions and subtle smiles evoke a tranquil, contented life. Their understated attire and simple jewelry suggest a sense of domestic intimacy. The bookshelves and objects behind them hint at inner refinement, while the wisteria vines climbing along the edges of the painting not only frame the women but also enhance its visual elegance with decorative flair. In recent years, Wang has conducted thorough research into women’s attire during the Republican era, aiming to depict era-appropriate women rather than theatrical characters.
From February 11 to April 16, Daguan Gallery will present the Lady Painting Exhibition of Yi-Ping Wang, offering viewers a serene and nostalgic aesthetic experience. Through her art, Wang invites you into a world of quiet beauty and refined ease.
Lady Painting Exhibition of Yi-Ping Wang
Exhibition Period｜February 11 – March 12, 2017 / March 15 – April 16, 2017
Lecture｜February 11 (Saturday) at 2:00 PM
Professor Chou Fang-mei: The Evolution of Modern Color-Ink Figure Painting through the Lens of Mr. Shih Yun-wen’s Collection
Opening Reception｜February 11 (Saturday) at 3:30 PM
Address｜No. 16, Lane 69, Jingye 2nd Road, Zhongshan District, Taipei City