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Vodič za studentska djela

Otherworld - Over Yonder

Ime Razred Datum

xiang jing, Otherworld - Over Yonder (2011), Song Art Museum. Reproducirano u informativne svrhe; sva prava zadržava nositelj autorskih prava.

Osnovne informacije

Umjetnik
xiang jing wahooart.com/hr/artists/xiang-jing/
Životopis umjetnika
1968 – ?
Slikano
2011
Izvorni dimenzije
160 x 510 cm
Lokacija izložbe
Song Art Museum wahooart.com/hr/museums/song-art-museum-beijing_hr/

U kontekstu

Otherworld - Over Yonder — xiang jing

Koliko je veliko?

Originalne dimenzije su 160 × 510 cm (visina × širina), prikazane ovdje pored odrasle osobe prosječne visine.

Godina nastanka

  1. 1960
  2. 1970
  3. 1980
  4. 1990
  5. 2000
  6. 2010

Shaded: životni opus xiang jing (1968–?) ▲ ovo djelo, 2011

Slična djela

Odaberite jedno od gore navedenih djela: navedite dvije zajedničke značajke s ovim djelom i jednu koja ih razlikuje.

Još djela koja se mogu postaviti uz ovo: wahooart.com/hr/art/similar/xiang-jing-otherworld-over-yonder-D7BQHJ-en/

Boje

Izmjereno na temelju slike

    Glavna boja

    Rosy Brown #9ea09f

    Spremljena paleta

    • #9EA09F
    • #4F423B
    • #DDDFDE
    • #716E6C
    Paleta
    Earthy Dominantna paleta boja na slici.
    Naziv glavne boje
    Rosy Brown
    Intenzitet
    Monochromatic Koliko su boje zasićene i raznolike, od jedinstvene prigušene nijanse do mnoštva jarkih tonova.
    Kontrast
    Balanced Razlika u svjetlini i zasićenosti boja unutar slike.
    Harmonija
    Softly Mixed Palette Koliko dobro boje funkcioniraju zajedno, od suprotstavljenih do potpuno ujedinjenih.
    Svjetlina
    Bright Opća svjetlina ili tamnoća slike, od dubokih sjena do svijetlih vrhunaca.
    Zasićenost
    Muted Koliko su boje čiste i snažne, od gotovo sivih do potpuno živopisnih.

    O ovom umjetničkom djelu

    Otherworld - Over Yonder — xiang jing

    Otherworld - Over Yonder, created by Xiang Jing in 2011, is part of the Otherworld sub-series, and the only work in the series to introduce human imagery. In two sub-series within Will Things Ever Get Better? —the Otherworld and Mortals series—Xiang Jing purposefully made the following distinctions: the Otherworld series, which depicts animal imagery, is a metaphor for humans’ natural character, and the Mortals series, which depicts acrobatic imagery, is a metaphor for humans’ social character. As such, perhaps Otherworld - Over Yonder can be regarded as the central theme that joins the two vastly different sub-series together. The Otherworld series makes up a utopia displaying humans’ “natural” character, or “otherworld,” where various animal figures all had their own hidden metaphors. Xiang Jing conceptualizes a certain reciprocal relationship in which human’s natural character depicted in the Otherworld series and humans’ social character depicted in the Mortals series shields one another: natural character refers to those qualities easily obscured or hidden by society, the essence of men true to the heart deep down; and social character refers to the socialized inherent quality that makes people follow rules with caution. It comes from society’s constant ruling and punishment of humans’ social character, thus obscuring humans’ natural character. Otherworld - Over Yonder not only aims to simply reiterate the popular ecological discourse, but it also attempts to enlighten, pinpointing the inherent relationships between people, people and society, and people and nature. In this piece of work, the indefinitely long arm of the young girl attempts to reach the “yonder” puppy. In other words, the young girl and the puppy are “yonder” to each other. For this Xiang Jing opted to use two different materials in sculpting the indefinitely extending arm of the young girl—her upper arm has the same material as her body (fiberglass with acrylic paint) while her forearm and the part extending to the puppy has the same material as the puppy (transparent resin painted with coloring power mixed with glue). Through the transitioning of the two materials on the disfigured arm of the young girl, Xiang Jing attempts to deliver a certain concept of mixing with each other, and serving as “yonder” for each other: even though “nature loves to hide,” humans’ inherent quality cannot expose itself explicitly, and is easily lost in social circumstances; however, in the process of being “yonder” to one another and trying to reach an “arrival” to each other, people in essence are approaching each other indefinitely while never reaching each other. This metaphor coincides with German Christian thinker Martin Buber’s elucidation of the relationship of “you and me” between god and humans. But Xiang Jing’s metaphor does not presume the relationship between person and person (or by extension, person and society) to be a two-dimensional construct where one serves as the subject and the other the object. It is instead a state of being “yonder” to each other yet approaching indefinitely and blending into each other: “you and me” both are turning back and looking at each other, finding each other, forever longing for the arrival to the other side, hence often neglecting our own place. But “you and me” encompasses the relationships between men and nature, the world and others, like that described by Martin Buber: “I” look at “you” as if I’m looking at myself, and “I” reach “you” just like I reach myself.(written by Mao Zhu)

    Umjetnik i muzej

    Umjetnik

    xiang jing

    Rođen/a u China

    Early Life and Artistic Foundations

    Born in Beijing in 1968, Xiang Jing emerged as a significant voice within the evolving landscape of contemporary Chinese sculpture. Her formative years coincided with a period of profound social and political change in China, subtly shaping her artistic perspective. Graduating from the faculty of sculpture at the Central Academy of Fine Arts in 1995, she received rigorous training in traditional sculpting techniques—a foundation that would later be powerfully subverted and re-imagined within her unique practice. While initially immersed in conventional methods, Xiang Jing quickly began to question established norms, seeking a means of expression that resonated with the complexities of modern life and the evolving role of women in Chinese society.

    The Rise of Satirical Figurative Sculpture

    Xiang Jing’s work is immediately recognizable for its strikingly introspective and often provocative female figures. She doesn't shy away from confronting difficult themes—identity, societal pressures, and the internal struggles of contemporary womanhood are central to her oeuvre. Her sculptures aren’t merely representations of the human form; they are vessels of emotion, capturing a sense of vulnerability, insecurity, and quiet rebellion. What sets Xiang Jing apart is her masterful use of satire. Her figures often engage in seemingly mundane activities—clubbing, shopping, or simply existing in contemplative solitude—but beneath the surface lies a sharp critique of consumer culture, gender roles, and the pressures to conform. This satirical edge isn’t about overt condemnation; rather, it's an invitation for viewers to question their own assumptions and biases.

    Materiality and Technique: A Deliberate Choice

    While many contemporary sculptors embrace synthetic materials and cutting-edge technologies, Xiang Jing remains deeply committed to traditional sculpting methods. She primarily works with fiberglass, meticulously hand-painting each sculpture in multiple layers to achieve a remarkable level of detail and realism. This deliberate choice isn’t accidental. The labor-intensive process reflects her dedication to the physicality of artmaking and allows for a nuanced exploration of form and texture. The use of props—such as cigarettes—adds another layer of symbolism, hinting at anxieties, desires, and the complexities of modern life. She rarely employs synthetic materials, preferring instead to build up layers of meaning through careful craftsmanship and attention to detail.

    Themes and Influences: From Personal to Political

    Xiang Jing’s artistic journey has been characterized by a consistent exploration of identity—particularly female identity—and the relationship between the individual and society. Her early series, such as Mirror Image (1999-2002) and Keep in Silence (2003-2005), laid the groundwork for her later, more ambitious works. She often describes her approach as “first-person narration,” drawing on personal experiences and observations to create sculptures that resonate with universal themes of longing, isolation, and self-discovery. While she resists easy categorization as a "feminist" artist, her work undeniably engages with feminist concerns—challenging traditional representations of women and giving voice to their inner lives. Her influences are diverse, ranging from classical sculpture to contemporary social commentary, but ultimately, her vision is uniquely her own.

    Historical Significance and Legacy

    Xiang Jing’s sculptures have garnered international acclaim, exhibited widely in China and beyond. Her work has been instrumental in shaping the discourse around contemporary Chinese art, particularly regarding the representation of women and the complexities of post-feminist thought. She is often discussed alongside other prominent Chinese artists who emerged in the 1990s and early 2000s, challenging conventional artistic boundaries and pushing the limits of creative expression. Her legacy lies not only in her striking sculptures but also in her ability to provoke dialogue—to encourage viewers to confront uncomfortable truths about themselves and the world around them. Xiang Jing’s art is a testament to the power of satire, introspection, and the enduring human need for self-expression.

    Muzej

    Song Art Museum

    Izloženo u Beijing, Narodna Republika Kina

    Privatna oaza vizije: Istraživanje Song Art muzeja u Pekinu

    Smješten u živom srcu Pekinga, Song Art muzej stoji kao jedinstveni svjedočanstvo profinjenog oka i strastvenog kolecionarskog duha gospodina Wang Zhongjuna. Više od običnog repozitorija umjetnosti, ovo je imerzivno iskustvo—pažljivo kuriran dijalog između suvremene kineske ekspresije i trajne baštine međunarodnih majstora. Osnovana 2št 2017. godine, ova privatna institucija nudi posjetiteljima rijedak uvid u svijet oblikovan individualnom vizijom, daleko od često krutih struktura državnih muzeja. Sam dizajn muzeja integralan je njegovom privlačnosti: besprijekoran spoj unutarnjeg mira i spokojne ljepote borovih vrtova, stvarajući atmosferu pogodnu za kontemplaciju i umjetničko uživanje.

    Srce Song Art muzeja leži u njegovoj iznimno raznolikoj kolekciji. Temelj ovog iskustva nedvojbeno je predstavljanje suvremene kineske umjetnosti – živopisnog odraza trenutnih trendova i inovativnih pristupa koji proizlaze iz dinamične kineske umjetničke scene. Ovdje ćete susresti djela koja izazivaju konvencije, istražuju nove medije i nude dirljivu komentaciju modernog života. Uz to su postavljena impresivna svjetska remek-djela muzeja. Ikonična djela Van Gogha, čiji turbulentni potezi četkicom bilježe sirove emocije, te Modiglianija, poznatog po svojim elegantnim portretima, borave unutar ovih zidova, pozivajući gledatelje na susret s umjetničkim tradicijama koje traju stoljećima. Ova kolekcija nije samo izložba; to je poziv na razmišljanje o poveznicama—i ponekad, kontrastima—između različitih umjetničkih glasova.

    Arhitektonska harmonija: Dizajn i ambijent

    Arhitektura muzeja jednako je promišljeno dizajnirana kao i njegova kolekcija. Prostirajući se kroz dvanaest dvorana, svaki prostor pažljivo je izrađen kako bi se maksimizalo iskustvo promatranom. Filozofija dizajna daje prednost besprijekornoj integraciji između unutarnjih i vanjskih prostora, pri čemu bujni borovi vrtovi djeluju kao umirujući protuteža intenzitetu umjetničkih djela. Sunčeva svjetlost probija se kroz drveće, bacajući šarene sjene na zidove i stvarajući atmosferu koja je istovremeno oživljavajuća i kontemplativna. Ova namjerna orkestracija prostora nije samo estetska; ona je osmišljena kako bi pojačala emocionalni dojam svakog komada, potičući posjetitelje da ostanu i istinski upiju bit umjetnosti.

    Povijest ukorijenjena u strasti

    Jedinstven karakter Song Art muzeja izravno proizlazi iz njegovog privatnog vlasništva. Osnovao ga je gospodin Wang Zhongjun, svjetski poznati kolekcionar umjetnina, filantrop i predsjednik Huayi Brothers Media Group, te mu muzej odražava njegov duboko osobni interes za umjetnost i kulturu. Ovakva struktura omogućuje neusporedivu razinu kuriranja—fokusiranu kolekciju vođenu ne državnim mandatima, već singularnom umjetničkom vizijom. Priča o nastanku muzeja fascinantna je; počela je s vlastitom opsežnom privatnom kolekcijom gospodina Wanga, koju je velikodušno odlučio podijeliti s javnošću. Otvaranje muzeja u rujnu 2ms 2017. označilo je značajan trenutak za kulturni krajolik Pekinga, a njegova naknadna uključenost u Google Arts & Culture dodatno je učvrstila njegov položaj kao vitalnog resursa za ljubitelje umjetnosti širom svijeta.

    Značajne izložbe i kontinuirani angažman

    Song Art muzej dosljedno predstavlja zanimljive izložbe koje prikazuju širinu njegove kolekcije i istražuju raznolike umjetničke teme. Nedavni vrhunci uključuju „Abstrakciju(e)“, koja prikazuje djela renomiranih umjetnika kao što su Xu Qu, Kim Tschang-Yeul i John Armleder; „Zelenu“, uvjerljivo istraživanje boje i forme kroz prizmu suradničkog rada Chen Mana i Song Yige; te izložbe koje ističu evokativna djela Hsiao China. Predanost muzeja prikazivanju i utvrđenih majstora i novih talenata osigurava da su posjetitelji neprestano izloženi svježim perspektivama i inovativnim pristupima. Nadalje, njegovo partnerstvo s Google Arts & Culture omogućuje globalnu dostupnost, donoseći muzejske dragulje široj svjetskoj publici.

    Jedinstvena perspektiva: Intimnost i dijalog

    Ono što uistinu izdvaja Song Art muzej je njegova intimna atmosfera—izravan rezultat njegovog privatnog statusa. Za razliku od većih državnih institucija, posjetitelji mogu doživjeti osjećaj osobne povezanosti s umjetnošću i vizijom muzeja. Kombinacija kineske suvremene umjetnosti i međunarodnih remek-djela stvara uvjerljiv dijalog između različitih umjetničkih tradicija, potičući promišljanje o univerzalnim temama ljepote, emocije i ljudskog iskustva. Mirno okruženje, obogaćeno bujnim vrtovima, nudi dobrodošao odmor od užurbanog Pekinga—istinsku oazu za ljubitelje umjetnosti koji traže inspiraciju i kontemplaciju.

    Dodatne informacije

    • Umjetnik xiang jing wahooart.com/hr/artists/xiang-jing/
    • Muzej Song Art Museum wahooart.com/hr/museums/song-art-museum-beijing_hr/
    • Slična djela Još djela za usporedbu wahooart.com/hr/art/similar/xiang-jing-otherworld-over-yonder-D7BQHJ-en/

    Pronađite ovo na mreži

    QR kod koji povezuje na stranicu za preuzimanje Otherworld - Over Yonder

    wahooart.com/hr/art/download/xiang-jing-otherworld-over-yonder-D7BQHJ-en/

    Izvor za ovo umjetničko djelo

    MLA
    jing, xiang. Otherworld - Over Yonder. 2011, Song Art Museum. https://wahooart.com/hr/art/xiang-jing-otherworld-over-yonder-D7BQHJ-en/
    APA
    jing, xiang (2011). Otherworld - Over Yonder [Painting]. Song Art Museum. https://wahooart.com/hr/art/xiang-jing-otherworld-over-yonder-D7BQHJ-en/
    Chicago
    xiang jing. Otherworld - Over Yonder. 2011. Song Art Museum. https://wahooart.com/hr/art/xiang-jing-otherworld-over-yonder-D7BQHJ-en/
    Harvard
    jing, xiang (2011) Otherworld - Over Yonder. Song Art Museum. Available at: https://wahooart.com/hr/art/xiang-jing-otherworld-over-yonder-D7BQHJ-en/

    Pogledajte pažljivije

    Otherworld - Over Yonder — xiang jing

    Pogledajte pažljivije

    Odgovorite vlastitim riječima. Ovdje nema netočnih odgovora — postoje samo odgovori koje možete objasniti.

    1. Što vam prvo privlači pažnju i zašto?
    2. Koje boje ili oblici stvaraju atmosferu — i kakva je to atmosfera?
    3. Vratite se na djelo Be Kind to Melancholy, That Big Loyal Dog (2016), koje ste ranije vidjeli u ovom vodiču. Navedite dvije zajedničke značajke koje to djelo dijeli s ovim radom te jednu koja mu se razlikuje.
    4. xiang jing je imao oko 43 godina kada je ovo nastalo. Što u ovom djelu podsjeća na rad umjetnika u toj životnoj dobi?
    5. Što je umjetnik možda želio da osjetite?

    Vaš odgovor

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