Landscape and natural scenery has always been an important motif in Shang Yang's paintings, incorporating a sense of traditional classical landscapes into contemporary painting. This paper analyses the nature and landscape motifs of Shang Yang's art, using his Dong Qichang series paintings as a case study, and argues that his symbolic pictorial language focuses on the “mother nature”, which is a combination of traditional Chinese art and contemporary art, fulfilling the goal of building the contemporaneity of his art in the context of Chinese tradition.

Li Jianbo, Jia Yihan. A Study of Shang Yang’s Symbolic Pictorial Language—Take the “Nature” Pictorial of the “Dong Qi Chang Project” Series as an Example. Frontiers in Art Research (2023) Vol. 5, Issue 2: 17-22. https://doi.org/10.25236/FAR.2023.050204.

[1] Li Jikai. (2020). The exploration of the contemporaneity of localized art --the artistic research of Shang Yang. Chinese National Academy of Arts, pp.83-88.

[2] Pan Hui. (2018). Research on Material Language of Shang Yang’s Panting Creation. Central China Normal University, pp 40-41.

[3] Kang Xuan. (2020). The Symbolized Expression of Individual Experience Abstract—A study on Shang Yang’s Art. Sichuan Fine Arts Institute, pp.10. 

[4] Zhang Anming. (2019). The study of Shang Yang’s painting—the schematic expression of Landscape Awareness. Central China Normal University, pp.19-22.

[5] Yu Hong. (2004). “Grand Scenery”: the Artistic World of Shang Yang. Literature and Art Studies, pp.106-113.