Yang Peijiang is a very specific and pure person in his creation, in the beginning of his creation until now, all sorts of elements inside, are all around him or his beloved fragments, ten years did not change much, he dedicated to depict the rural nature and population brought him sentiment and smart, it seems to be the same theme, but a closer look, every detail of the picture is full of all kinds of differences, which makes each of his works are actually playful in different poses and with different expressions.
Yang Peijiang | Orchard anecdotes | oil painting |185X170cm | 2012
Yang Peijiang's work is not too obvious stages of change, as his life is quiet and peaceful, but as mentioned before, his works stand further and deliberate, carefully look at the past, changes has been hidden in each of his works, slowly changing, but in 2005, his works still appeared the relatively obvious "qualitative change", substantial changes in this "qualitative change" does not come from a theme or style, but the leap under long-term moderate changes. This difference, let each of works are in different poses and different expressions actually.
Yang Peijiang | Go to market | oil painting | 140X120cm | 2012
Before 2005, Yang Peijiang's works mostly as the theme of countryside landscape, the proportion of people occupied in the picture is not too large, sometimes even appeared as a foil to the scenery - although the "background" is the key demands of the picture, but obviously the picture and the meaning of the proportion is different.
Yang Peijiang | Bright sunny skies | propylene |120x180cm | 2016
Of course, the works of this period are the main characters occupied works, but less in quantity, such as the 1999 work "sing loudly" etc.. In the works of this period, the scenery is the most real landscape, although Yang Peijiang used thick and heavy colors to rendering their (a point in his oil paintings and color inks are the same), but we still can find their prototype in reality, playful. You can see that in the works of this period, "Hui Cun landscape and Yang Peijiang based on the scenery constantly painting and try to figure out the influence of works of landscape layout, as is the same as in 1999 of the work "lotus blossom" is a very typical work of this period, the "lotus flower" occupies the main position of the picture, with pink flowers as the main color spread in the picture, obvious separated with dark color background. On both sides of the two groups of characters separated at the river: a group of men nestled in the lotus flower, sitting around a low table, like a chat; a group of women standing on the shore, one of them carrying children, whispering to other people chat with small household affairs.
Yang Peijiang | Wei Yu | rice paper, color ink | 180x179cm | 2014
Two groups of people, one group right and one group left, a group of men and a group of women, in contrast, the small details of the typical rural leisure life, in Yang Peijiang's extremely fresh and bright in thick and heavy colors. Although the picture and the title are in the name of Hibiscus, virtual looks in the landscape, but the landscape is the focus of the shore life is the key point of Yang Peijiang depicts. During this period, after 2005 Yang Peijiang's works began to a deeper level of "re creation" change, from the beginning of this period, the proportion of landscape works gradually reduced, and even began to appear without landscape works.
Yang Peijiang | Fable | rice paper, color ink | 179x192cm | 2013
From this period until now appears in the works of landscape also began to show the "deformation" means that no longer is a kind of landscape painting refined, but in the refining on the basis of deconstruction and reorganization, this scenery is no longer about rural life, which is to build an almost eerie the new rural landscape. The construction break through the surface of the familiar scenery, deeply inner refined, "Hui village" or other rural scenery was no longer familiar under Yang Peijiang's brush, not scenery that our senses have always accepted, it is tempting to think of his new show in 2012 the name "magic village", quite fit, magic two words very well describe the style of his work. Except the change of the scenery description, more changes from picture theme – character image.
Yang Peijiang | Magic village | rice paper, color ink |179x179cm | 2014
The last figures inked with a small, seemingly light way to express a relatively heavy theme, but now Yang Peijiang to handle the characters in a more magnified way. The country's images in his works expand, opened the original mild skin, inside the exaggerated release. Things are inked scanty, a few stokes can be vivid, this is Yang Peijiang years of work by now. In 2009 his "farm anecdotes" is one of the typical works of this type, works is also the rural leisure farming scene, all sitting in the river, even people wearing in the works as the past have not much difference -- such as wearing a yellow hat farmer. But with the past works is different, the viewfinder works became a little corner in the painting, full of people, even across the river peach bloom are lonely reaches the branch to look a noisy corner. Yang Peijiang used a lot of effort in depicting the characters facial expressions, the five characters are divided into two groups, each one is different.
Yang Peijiang | Farm feast | rice paper, color ink | 70x71cm | 2013
The first group of three men sitting together drinking tea, a hand-held cigarette pour out words about the confusion between the command of heaven and earth; a straw hat over his eyes and keep silence, as if immersed in their own world; there is a man pour tea for them, face full of tired. The second group is a peasant woman holding her child, women's eyes closed with a facial expression of a child everything is full, and the punchline of the picture is the child in her hand, a child in the mother's help to his urine ejected into the river.
Yang Peijiang | Village entrance | rice paper, color ink |70x70cm | 2012
Yang Peijiang perfected the whole picture with this a punchline, depicting the two generation, when facing the life attitude and thinking, children with such provocation and disdain put itself in the society, maybe he will grow up like the people around a surface looked calm but "dangerous" rural life, maybe he will have to leave the country, break through the barriers of different days. Yang Peijiang put more than ten years of observation and thinking of rural life broke into the work, forming the original works completely different from the past since 2005.
Yang Peijiang | Hui cun | rice paper, color ink | 201x313cm | 2013
If the past Yang Peijiang is obsessed with the beauty and sadness in the countryside, so now he will think more about the people’s hear under the cover of scenery, from the countryside to humanity, he completed an artist for the nature of the study and understanding of works. Now Yang Peijiang's characters are spewing out from the picture with a mission more and more, very exciting.
Yang Peijiang | Village doctor | rice paper, color ink | 70x139cm | 2013