The Taihang Mountains are best known for its snow. Historically, Cao Cao, a general
from the Three Kingdoms, wrote extensively about the Taihang snow as a metaphor
for the ultimate challenge in one’s life. The Northern Song painter known for snow
mountains was Fan Kuan, famed for his atmospheric, misty landscapes and mastery
of ink washes to depict winter scenes and high mountains. Through Evoking Fan
Kuan’s Snow Mountains, Bingyi paints the top of the mountain in snow to be a roaring
lion head.
This painting was completed in the temple that Bingyi built in 2022 in the heart land
of the Taihang Mountains with her “flow” technique. Snow Mountain gestures toward
history as a lived, reflective process shaped by time and climate. Bingyi’s “flow”
technique makes water so important that it becomes the embodiment of ink. Bingyi
uses water with such an expression that it becomes a creative structure that ties her
climate painting, wave paintings to her history paintings and “flow” series.
太⾏⼭最為⼈所熟知的⾃然特徵，是其漫⻑⽽嚴酷的雪季。早在歷史上，三國時期的
將領曹操便在詩⽂中反復書寫太⾏之雪，將其視為⼈⽣中最極端、最艱難考驗的隱喻。
⾄北宋，以雪⼭著稱的畫家當屬范寬——這位宮廷畫家以營造深遠、氤氳的⼭⽔氣象
聞名，尤擅⻑運⽤⽔墨渲染來表現冬景與巍峨⾼⼭的氣勢。在對范寬《雪⼭》傳統的
喚起與回應中，冰逸將覆雪的⼭巔描繪成⼀顆咆哮的獅⼦之⾸。
這件作品完成於 2022 年，創作地點正是她在太⾏⼭腹地親⾃建造的神廟中。 《雪⼭
⾏》由此不再只是對歷史樣式的再現，⽽是將歷史理解為⼀種被時間與氣候不斷塑造、
可被⾝體經驗與反思的過程。在冰逸的筆墨之中，⽔被推⾄核⼼位置，重要到成為⽔
墨的具⾝形態。她以極具表現⼒的⽅式使⽤⽔，使其不只是媒介，⽽成為⽣成性的結
構，將她的氣候主題的繪畫、波相繪畫，與其歷史⼭⽔作品及《⼼流》系列統⼀。