{"id":456,"date":"2015-07-10T17:35:56","date_gmt":"2015-07-10T09:35:56","guid":{"rendered":"http:\/\/www.yang-maolin.com\/wordpress\/?page_id=456"},"modified":"2022-06-14T16:47:43","modified_gmt":"2022-06-14T08:47:43","slug":"work-affection","status":"publish","type":"page","link":"http:\/\/www.yang-maolin.com\/wordpress\/work-affection\/","title":{"rendered":"\u6709\u95dc\u611b\u60c5\u7684\u6545\u4e8b"},"content":{"rendered":"

2007-2009<\/h2>\n

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A Story About Affection \uff5c 2007-2009<\/h2>\n

What Yang Mao-lin is trying to say here is that since ancient times humanity\u2019s shared and mutually cultivated feelings of joy, sorrow, infatuation and anger \u2013 so-called love \u2013 are just that pure and simple, at once frivolous yet deep. Over the long haul, what he has repeatedly experienced and is constantly relearning is that these originally imaginary love stories can often still bring out a lot of emotions in him. Whether with the three tragic love stories in copper or the three comedy love stories in stainless steel, he has used the form and postures of the tantric Laughing Buddha to \u201cdeify\u201d them, imbuing them with the common thread of the Lotus Position. And as to one of the symbolic characteristics of Buddhist statuary \u2013 the backlighting of the holy Buddha \u2013 he has employed the flat surface techniques of relief sculpture and engraving to display a summary visual marker for the whole of the romantic love story, creating the effect of a symbolically sacred backlighting, expounding upon the idealized purity and sacredness of love in his mind\u2019s eye.<\/p>\n

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