LIU Libin

　　During critical periods of historical transformation, in some ways, people can perceive anxiety and tension on the eve of such great changes, and spineless they may be, they can't alter it; or alternatively, they may be elated and ready to accept every challenge. Not everyone is clear about the vicissitudes and alternations of an era.

　　Nor everyone can seize the timing as well as be capable of making a difference.

　　Artists, as highly sensitive people, shoulder the responsibility of inheriting the past and opening the doors to the future. "Inheriting the past" originates from the acceptance of the scope and depth of the past, while "opening the future" comes from the judgement of the future.

　　Contemporary artists mirror not only receptacles and filters of cultural traditions, but are more like converters and transmitters. What they end up presenting is their works.

　　I felt quite shocked when Ren Sihong sent me the new works he had created over the last few years. This feeling has remained from the moment I first saw them on photos, to seeing the originals at his studio, and to writing this article.

　　Why was the resonance so strong? I believe it is because firstly, his resolute determination to transform; secondly, the new style of his works; and thirdly, his insight into traditions.

　　In the past, Ren Sihong wandered in the crevice between art history and contemporary art, utilizing his wisdom to unearth dormant and unused narratives. He enjoyed indulging in such high-risk ventures, which reflected his attitude towards history and reality. He was influenced by long-term social practices and naturally subjected to the vicissitudes of the times. As ample as Ren Sihong's artistic works are, he still worries about one thing: getting used to this prevailing wave and headwinds, and eventually, the possibility of going with the flow.

　　The death of his father, the journey to the west, the enlightenment at Kunlun Mountain... Ren Sihong, in recent years, has made great progress under different circumstances: resolutely rejecting the past, facing his inner self, and wandering back to the basics.

　　How difficult was the implementation of multiple processes?! Well, on the front, it seemed as though Ren Sihong's life was smooth and pleasant; but he had encountered several different setbacks. This process was a cycle for many artists in contemporary art at that time including Cang Xin, Cui Xiuwen, He Yunchang, He Chengyao, Jiang Miao, etc.

　　I would say that the common trait was standing out from the stereotypical narratives of the past, achieving a decisive and fantastic comeback, and inheriting an eternal tradition that transcends real time and space. Therefore, their ambition was indispensable, their talent spoke for itself, and to date, more viewers are still confused about their identity, and only use the term "mystery" to generalize it.

　　When history walks into reality, it is a sign that the future has arrived.

　　Ren Sihong's works are mainly based on the combination of primary colors, namely, blue, yellow, red, white, and black, which happen to be integrated into the traditional Chinese "five colors". Based on the "Yin-yang and five elements" doctrine, the "five colors" respectively represent wood, gold, fire, water, and soil. On the other hand, they symbolize the east, the west, the south, the north, and the middle, and contain the five divine powers.

　　For the curve, Ren Sihong would often use an "s" serpentine curve. Each "s" serpentine curve coincides with the line trajectory of the Taiji diagram. The transformation of Yin and Yang ─ the light and the dark ─ are contained in it. When these lines are merged into a huge picture, boundless and vigorous imagery is vividly portrayed.

　　When you first step into Ren Sihong's studio or an exhibition hall with his works, you'll be overwhelmed by the powerful magnetic energy of his works. The paintings hung on the wall light up the entire exhibition space. The colored brushstrokes guide the airflow, and the shockwave and messages resonate with people, causing the audience to plunge into the caves of the Mo Kao Grotto at Dunhuang. Now, you can stay tuned to the colored brushstrokes of Ren Sihong's works and the murals of Dunhuang Grotto. It turns out that it is a thousand years away and near at hand.

　　Most people obtain knowledge from reading books, but we tend to neglect the process of knowledge internalization ─ comprehension. Inspiration from Ren Sihong's personal experiences has driven us to pay more attention to the importance of the latter tradition. From communicating with Ren Sihong, I discovered that his witty remarks, his explanations, idioms, and slangs were extraordinary, and tracing back to the origin. It projects a warm feeling onto people similar to an enchanting sight in the spring, which is enlightening. Stunning at first, it is an inevitable trend. According to The Literary Mind and the Carving of Dragons, "People have thoughts and feelings, thus produce language; with language, there will be articles: this is the way of nature. Things other than humans, whether it is animals or plants, also have literary talents." "Therefore, as long as there is a physical body, there will be literary grace, and there will be rhythm when there is sound." Here, Ren Sihong's "patterns" and "words" are consistent, and his insight is as profound as his creation.

　　We are on the eve of the rebirth of traditions. This is not the language of the utilitarian, but the sense of time and space that penetrates the skin.

　　Hundreds of flows carry boats and eastward flows the Yangtze River. The Kunlun Peak, in retrospect, emerges from the melting of ice.