Er Gang: Climbing the High Tower Alone cover

Er Gang: Climbing the High Tower Alone

Rating 3.6
Word count
42K words
Chapters
58
ISBN
9787531736806

Tags

Summary

This book presents the essays and paintings of the renowned artist Liu Ergang. The essays are profound in conception and written in a plain, unadorned style; the paintings are humorous and witty, carrying a powerful presence that strikes the viewer.

Editor's review

Ergang: Alone on the Tower is a substantial collection of contemporary literati paintings and art essays. It is not only a concentrated showcase of the artist Liu Ergang's personal creative career but also a window into the spiritual lineage of contemporary Chinese literati painting. As one of the representative figures of New Literati Painting, Liu Ergang infuses his work with a distinct modern sensibility and personal life experience while inheriting the expressive spirit of traditional literati painting. The works collected here feature spare brushwork and subtle, distant moods, often accompanied by thought-provoking inscriptions. In just a few words, they offer both humorous satire of the world and clear-eyed reflections on life, forming a unique style in which "the painting contains writing, and the writing contains thought."

The editor believes that the value of this book far exceeds that of an ordinary art album. It is more like a "history of the heart" completed in brush and ink. Readers can not only appreciate his distinctive pictorial language—a brushwork charm in which naivety reveals seasoned skill and spareness conceals sharp wit—but also, through his essays, enter the spiritual world of a contemporary artist and feel how he seeks a place to settle himself within the tension between tradition and modernity. For art lovers, this book is a rare case study for research on New Literati Painting; for general readers, it offers a way to look inward amid a clamorous age and to savor solitude and ease. The solitary spirit of "alone on the tower" is not passive withdrawal from the world but an actively chosen cultural stance, one that seems especially precious today.

Who it's for

A good fit for

  • Readers interested in traditional Chinese literati painting and the development of New Literati Painting
  • Art lovers who appreciate spare, expressive painting styles
  • Readers who wish to understand a creator's inner journey through art essays
  • Urban readers seeking a moment of quiet and spiritual self-reflection in a busy life

Not a good fit for

  • Researchers of pure artistic technique who seek realistic, finely detailed styles or grand narrative subjects
  • Readers expecting systematic art theory or a detailed biography

Reading tips

  1. Begin by browsing the paintings to take in their overall atmosphere and brushwork charm, then read the inscriptions and essays closely to appreciate how image and text illuminate each other.
  2. Treat the reading process as a slow walk; there is no need to rush. Linger before a particular painting or passage to savor its overtones.
  3. Read with some knowledge of traditional Chinese culture (such as poetry and philosophy) to gain a deeper understanding of the cultural metaphors and spiritual orientation in the works.

About the publisher

Northern Literature and Art Publishing House focuses on contemporary and modern literary and artistic works, literary theory, and translations of foreign literature, while also covering categories such as history, popular science, Eastern philosophy, and world classics. Its collection includes 737 titles, with representative publications ranging from traditional Chinese classics such as Records of the Grand Historian, The Exploitation of the Works of Nature, and The Analects to foreign literary works including the complete classic plays of Shakespeare, Balzac's Old Goriot and Eugénie Grandet (in celebrated translations by Fu Lei), and The Complete Sherlock Holmes. Its author resources span classical figures such as Sima Qian, Song Yingxing, and Confucius, foreign writers such as Shakespeare and Balzac, and translators such as Zhu Shenghao and Fu Lei. The press combines the transmission of classics with an orientation toward general reading, developing a distinctive profile in both the editing of traditional texts and the translation of foreign literature. Public information is limited, so the above emphasizes the publishing profile reflected in the books held in the collection.

Contents

  1. 版权信息
  2. 自在一 高楼谈画
  3. 尘外清音
  4. 自备写短文十要
  5. 适合才好
  6. 丁山刻壶记
  7. 题画杂说
  8. 自娱及自娱娱人
  9. 答穆小编中国画问
  10. 画画十难
  11. 偷些漫画本领
  12. 自在二 自说自画
  13. 想他
  14. 吃得菜根香
  15. 看杀卫玠
  16. 问三美
  17. 不与你论
  18. 下课
  19. 享受阳光
  20. 塞翁失马
  21. 只是看看
  22. 观剑
  23. 三个好友
  24. 观画
  25. 东坡
  26. 午梦
  27. 对牛弹琴
  28. 再射不入
  29. 羲之爱鹅
  30. 阮籍伴醉
  31. 四面无穷水
  32. 不受嗟来食
  33. 朝四暮三
  34. 夫子拄杖
  35. 功成即退
  36. 风动幡动
  37. 附耳
  38. 随归自笔来在三
  39. 石头人
  40. 说“玩”
  41. 闲话胡须
  42. 石不能言最可人
  43. 看“马踏飞燕”
  44. 一号·马桶
  45. 岁寒即思画梅花
  46. 读书改面相
  47. 他乡月,故乡月
  48. 宝剑弃红尘
  49. 寒山子与寒山
  50. 楼居有想
  51. 桃花源里可耕田
  52. 几度隔窗听雨声
  53. 时尚“造型”
  54. 朋友见面“扫一扫”
  55. 日 记
  56. 假 如
  57. 问“二”
  58. 说说路途选择

FAQ

What is "new" about Liu Ergang's "New Literati Painting"?
Liu Ergang's "newness" lies mainly in three aspects: first, although his subjects carry classical resonances, they are closer to modern people's perceptions of life and spiritual anxieties; second, his brushwork, building on traditional expressive painting, incorporates a personalized naivety and humor; third, his works emphasize thought, and the inscriptions often carry strong real-world concern and philosophical reflection, so that traditional forms carry a modern soul.
Is this book suitable for readers with no foundation in Chinese painting?
Entirely suitable. This is not a difficult technical textbook; its core appeal lies in the moods conveyed by the paintings and the true temperament revealed in the essays. Even without knowledge of Chinese painting, readers can derive aesthetic pleasure and life inspiration from its simple, vivid images and witty writing, and may even find here a gateway into the pleasures of traditional Chinese art.
What is the deeper meaning of the title Alone on the Tower?
"Alone on the tower" comes from the Song dynasty poet Yan Shu's line, "Last night the west wind withered the green trees; alone I climb the high tower and gaze to the end of the world's roads." Here it symbolizes a stance of artistic and spiritual exploration. It refers both to the painter's insistence on seeking his own way in art rather than following fashion and to the spiritual realm pursued in his work—rising above worldly turmoil and gazing far—a solitude and clarity that are actively chosen.

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About the author

刘二刚 Author

Liu Ergang: publicly available information about this author is currently very limited, and only one of his works is held in the collection, namely Ergang: Alone on the High Tower. The book is classified under "theory," suggesting that his writing leans toward reflection and argumentation rather than narrative or lyricism. Judging by the title, the phrase "alone on the high tower" carries a sense of climbing high to gaze afar and think independently, which suits the composed tone of a theoretical work and hints that the author may be concerned with matters such as spiritual cultivation, reflections on life, or artistic ideas. Because no clear records exist regarding his dates of birth and death, nationality, education, or professional career, it is not yet possible to sketch the outline of his life or to judge the overall trajectory and intellectual lineage of his work. Under present conditions, only a limited observation of his surviving work can be made: the style appears to rely on plain reasoning and the expression of personal views. Readers who wish to learn more about this author will have to wait for further public materials to come to light.

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