In the sphere of symbology,“neng zhi”(the vision impact) means psychological “impression and trace” made by the sound unit of thesymbol; in contrast, “suo zhi” means the meaning of the symol.

After the “concept art” became a known subject, we developed a rule of game in which “suo zhi” (the meaning of the symbol) produces“impression and trace”.The better application of this rule of greatly expands the imaginative space of art; the worse application of it,just borrows this deducible logic system turning the artistic creation into a seemingly plausibie notion and applies it as a systematictreatment like “one produces two,two produces three, three produces everything”. The joys induced by artistic creation are turned into a meaningless game of notions. And this way of notion deduction is even worse in the artificial art market.

In this background, Yongjie Pang uses a pure form, color, volume and lines to express “the joy of the eyes” and “the satisfaction of themind” when people confront pure visional experience in his painting and sculpture which making him appears to be more sincere. The color he used was evolved from flok decorative art combined with his visional study of color in the modern western art. The structure of his painting was in the process of continuous refinement.He uses simple lines to express the complex space relations, eventually form the highly continuity of flat and cubism in vision.

In Pang`s early works, we can clearly identify that the origin of his maternal shape comes from folk decorative art. The free descriptionof females with big breast and big hip brings simple happiness and satisfaction. Similar visual appreciative experience can be found inmany folk art works and modern western art that draw inspiration from eastern decorative art shape.

At this stage, Pang`s work just concludes the form of “shape transplant” in which he joins the individual shape factor coming from thefolk maternal art into a constructive painting process in general structure. After this stage, He draws from this panoramic far-reachingperspective into the interior of the object. The changes of the perspective bring about his different attitude toward the observation of the object. Ever since ,the folk factor in his painting gradually disappears. Instead, a more tolerant thinking on maternal subject begins to shape. Lines and colors are set free from the early half true- to-nature shape and become more free and subjective.

At this stage, the whole image was cut and reconstructed due to the change of the perspective of the subject. Therefore, the power ofthose lines and color block was fortified while the painting`s aesthetic style was tumed from decoration to expression.

For instance, in his structure, the object does not appear entirely in the picture. Instead, he uses a “broken” method in Chinese paintingstructure letting the frame to break the integrity of its object. Thus brings flexibility to the relationship between lines and the space relationship with the overlap of these lines. The relationship beween lines and beween lines and the volume it represented is reexamined while the subjectivity of the lines is emphasized.

Other relevant point is free subjectivity of the cutting and reconstructing of its form and shape. As what has been said above, afterthe emphasis of the subjectivitg of the lines, line are not only a form-shape factor attached to the object. Their relationship with frame,other lines and the flat it cut become more important. On this ground, the line`s angles, shapes and features find their own subjectivity.　Accordingly, the unique positions of each figure got special meanings in the arrangement. I have once said that in Pang`s oil language there is Chinese painting language factor. But it`s not the superficial transplant of the combination of this language factor.It delicately absorbs the Chinese painting language in its style. That is to use the simplest lines to construct complex space layers.These basic rules of Chinese painting structure are well deployed in Pang`s new woks: the richness of the space is expressed by simple factors, and through the systematic arrangement of these factors shows his sophisticate ability of space management.

In fact, Pang can chose an much easier way that bases on his early style of folk art, rich colors and his “concept” that leads to otherdrawing style. Yet, now he chose this seemingly simple and plain but in fact rather difficult technique. This shows his sincerity to painting and his frankness to humanity.Last but not least, let`s look at Pang`s latest sculpture. The generalization and lucidity of their shape is unimaginable for sculptors with academic background. In his works, many designs are just against the logic of sculpture language. Just as in his paintings, he uses simple shapes and lines in a casual way to reflect the sincerity and frankness of humanity. In western sculpture aesthetic tradition, the feature of “block” ended at the lucidity and abstraction of Brown Kuci; while the feature of “line” in eastern sculpture aesthetic ended at elaborated details and decorations. His ability to control and organize lines learned in his painting works is applied in his sculpture. He fully displaysthe visual power of lines while explores the visual tensional effect of the volume to the extreme yet without overstating, keeping theintimacy and interaction with their surroundings.

作者：WuHong