Temporal Overlays”

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Strata of Time: Historical DNA and Future Syntax in Fantasy-Color Freehand

Abstract: This essay focuses on Mu Ran Gong’s core methodology of “Overlaying Historical Timelines.” By analyzing the juxtaposition of Song-Yuan grandeur, Ming-Qing brush spirit, Dunhuang texture, and Western modernist composition within his paintings, it reveals how “Fantasy-Color Freehand” acts like an archaeologist, excavating and reconstructing “cultural strata” on a two-dimensional plane to create a visual entity that carries millennial memory while pointing toward the future

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Heartscape: When Ink Becomes a Vessel for Capturing Cosmic Energy

Abstract: This essay delves into the core shift in Mu Ran Gong’s (Lu Guanyu) practice: from depicting landscapes to constructing “Heartscapes.” It analyzes how he merges Daoist “Qi Yun” philosophy with contemporary conceptions of dark matter and energy fields, transforming “Fantasy-Color Freehand” into a unique language for visualizing the invisible forces of the cosmos.

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Laboratory Notes: Decoding the Generative Site of “Three Inks, Five Colors, Two Lights”

Abstract: This essay delves into the “backstage” of Mu Ran Gong’s creative process, using his “Experimental Studies” as a guide to visually unveil the generative process of the “Fantasy-Color Freehand” system, from theoretical concept to pictorial realization. By analyzing the application of the core formula “Three Inks, Five Colors, Two Lights” in specific experiments, it demonstrates how his art exists as a rigorous form of “visual research.”

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A realm where both the object and the self are forgotten.

‘Linear Awakening’ by Mu Ran Gong. A Fantasy-Color Freehand work where vibrant mineral pigments and ink create a sense of cosmic landscape on Xuan paper.