Huang Yan, ‘Chinese Landscape Tattoo No. 4 中国山水纹身之四’, 1999, Photography, Chromogenic prints, The Metropolitan Museum of Art
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Huang Yan

Chinese Landscape Tattoo No. 4 中国山水纹身之四, 1999

Chromogenic prints
20 × 24 in
50.8 × 61 cm
About the work
Exhibition history
Provenance
The Metropolitan Museum of Art
New York

黄岩 中国山水纹身之四

Medium
Image rights
Photo: courtesy of The Metropolitan Museum of Art
Huang Yan
Chinese, b. 1966
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With works rife with references to Chinese history and cultural traditions, Huang Yan honors the values of his country’s past while exploring their place within contemporary China. Among his best-known projects is his “Chinese Landscapes” series, begun in 1999. Combining photography, painting, and body art, it features color photographs of himself and others covered not with clothing but with landscape paintings executed in the traditional style. While transposing such paintings onto the nude body—a taboo subject not incorporated into Chinese art until the 1970s—may be seen as radical, for Huang it illustrates an urgent message. In all of his work, he aims to remind his fellow citizens of the preciousness of China’s artistic, philosophical, and social heritage. “Landscape is […] my resistance against worldly conflicts and a way of releasing my Chan ideas,” he once stated.

Huang Yan, ‘Chinese Landscape Tattoo No. 4 中国山水纹身之四’, 1999, Photography, Chromogenic prints, The Metropolitan Museum of Art
Save
Save
View
View in room
Share
Share
About the work
Exhibition history
Provenance
The Metropolitan Museum of Art
New York

黄岩 中国山水纹身之四

Medium
Image rights
Photo: courtesy of The Metropolitan Museum of Art
Huang Yan
Chinese, b. 1966
Follow

With works rife with references to Chinese history and cultural traditions, Huang Yan honors the values of his country’s past while exploring their place within contemporary China. Among his best-known projects is his “Chinese Landscapes” series, begun in 1999. Combining photography, painting, and body art, it features color photographs of himself and others covered not with clothing but with landscape paintings executed in the traditional style. While transposing such paintings onto the nude body—a taboo subject not incorporated into Chinese art until the 1970s—may be seen as radical, for Huang it illustrates an urgent message. In all of his work, he aims to remind his fellow citizens of the preciousness of China’s artistic, philosophical, and social heritage. “Landscape is […] my resistance against worldly conflicts and a way of releasing my Chan ideas,” he once stated.

Huang Yan

Chinese Landscape Tattoo No. 4 中国山水纹身之四, 1999

Chromogenic prints
20 × 24 in
50.8 × 61 cm
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