Gallery Plan

New Media Animation of the One Hundred Horses

The “One Hundred Horses” is a picture scroll by Giuseppe Castiglione who chose a horse ranch for his creative theme. The horses in the painting are enchantingly lifelike and the artist excels at chiaroscuro care of his exquisite brush work. In brief, a meticulous triumph of realism in painting. The production basis of this film is to remain loyal to the original painting, by incorporating the latest high-end animation technology, herd of horses from the painting are gorgeously rendered, especially poses and activities such as playfully wrestling, leisure and recreation, galloping horses or ford crossing. Amazing horse actions are vividly presented before the audience.

New Media Animation of the Cold Food Observance

"The Cold Food Observance" contains two poems on the Cold Food Observance written by Su Shi in 1079. Su had been banished to live in the city of Huangzhou and in the Cold Food Festival of his third year of banishment, he was inspired by the change of the seasons, his personal and professional setbacks, and impoverishment, to write two poems which he followed up with a brushed calligraphy scroll. Subsequent generations have acclaimed this as the best of Su Shi's surviving calligraphy. Moreover, fellow renowned poet and calligrapher, Huang Tingjian, brushed in comments of his own at the end of Su's scroll. As such, this calligraphic work contains superb artwork laid down by the hands of these two venerable luminaries. This video utilizes cutting-edge animation technology to present the emotional ups and downs of Su Shi's poems and the rise and fall of his flowing calligraphy strokes. A fascinating visual presentation of calligraphic rhythms is the rewarding result, highlighting his variously uneven, irregular, unconstrained, and extraordinarily variegated style.

A Hundred Steeds, Lang Shining, Qing Dynasty

Lang Shining, also known by his Chinese name Lang Shih-ning, was a Jesuit missionary from Italy. Known for his exceptionally fine skill in painting, his work was appreciated by 3 emperors and he painted for the Ch'ing court. In China, he excelled at painting figures and animals. This work shows a plain with a hundred horses at leisure in various poses. Every detail was realistically done. The beautiful coloring, intricate composition, and compelling realism reveals a fusion of Eastern and Western techniques. Traditional Chinese techniques were combined with Western shading and perspective as well as Western materials, revealing a true meeting of East and West. This work is representative of Castiglione's early style.

The Cold Food Observance, Su shi, Song Dyansty

Su Shi (style name Zizhan) was a native of Meishan in Sichuan better known by his sobriquet Dongpo. He excelled at poetry and prose, painting, and calligraphy, being grouped with Cai Xiang, Huang Tingjian, and Mi Fu as one of the Four Masters of Northern Song calligraphy. In 1079 Su Shi was living in exile in Huangzhou (Huanggang, Hubei). On the Cold Food Festival in the fourth month of his third year there he was inspired by the change in seasons to comment on the difficulties of life and the frustrations in his official career, composing “Two Poems on the Cold Food Observance in Rain,” which he later transcribed in calligraphy as this handscroll. The dramatic ups and downs of Su Shi's emotions in his poetry were transformed into a flood of ink wandering about the paper with leaning forms here and there in a bold and unrestrained manner. This handscroll has circulated for more than 900 years from the Song dynasty to the present, with later generations praising it as the best example of Su Shi's surviving calligraphy.

Mao-Gong Ding Interactive Tabletop of Chinese Characters

Mao-Gong Ding Interactive Tabletop of Chinese Characters demonstrates the evolution of Chinese characters through the 500 character inscriptions inside the Mao-Kung Ting. This digital presentation provides viewers with a better understanding of the inscriptions and the cultural connotations within. As the focus of the animations, the Chinese characters inscribed inside the Mao-kung Ting reveal themselves as invaluable cultural resources with a combination of technology and history of humanity.

Must See Paintings and Calligraphies Interactive Tabletop: Bronze Inscriptions

For the Must See Paintings and Calligraphies Interactive Tabletop: Inscriptions on Bronze, we carefully selected from our collection 20 bronze wares and inscriptions covering the Shang and Zhou dynasties on through to the Han dynasty. We utilized powerful cutting-edge magnification technology to take bronze inscriptions of Chinese characters whose length and width falls below 2cm and enlarged them to tens of centimeters. As a result, the characters' left and right side structures, pen stroke direction and return, bronze mould-casting technology modification errors, the layer upon layer of piled up rust spots, and the lines of the brush strokes (whether staid and orderly or robust and graceful) are more than just meticulous detailed but revealed in their every particular.

The Heavenly Spirit of Calligraphy

honored with the Special Jury Award (in the TV Commercials & Public Service Announcements category) at the 46th WorldFest-Houston International Film & Video Festival.

The video begins with six methods regarding rules of formation in Chinese characters to demonstrate the splendid structure and forms of Chinese words; presenting epigraph and calligraphy on oracle, bronze, silks from various dynasties to narrate the origin and transformation of calligraphy of Chinese characters as well as its diversity. The image of a cellist playing the cello reflects the tempo of calligraphy, showing rhythm of writing.

Calligraphic Corridor: The Spirit of Autobiography

Huaisu's calligraphy style has been described thusly: “My brush varies as the snake glides poised into his post, or thrashes in tune with the windstorm upon the walls.” Speaking of which, Huaisu's cursive script really is like a snake gliding freely, both bold and flowing, his strokes circular, robust, and interlinked. His calligraphy's situational space furnishes audiences with a tripartite experience consisting of external environment, artistic temperament, and mood. This in turn inspires a profound appreciation of the calligraphic creativity and artistic mood of Huaisu's Autobiography. This installation starts with 4K high resolution video of the Autobiography and uses a floating projection and gauze netting to erect the aesthetics of his calligraphy in space. Next we walk from the physical gallery into the virtual art gallery and, via the VR immersive virtual reality device, experience for ourselves the superlative state of the Tang dynasty's wild cursive script artwork.

Autobiography, Huaisu, Tang Dynasty

The monk Huaisu, originally going by the surname Qian and the style name Cangzhen, was a native of Changsha (or Lingling) in Hunan. Achieving renown in his hometown for cursive script, he later headed north to Chang'an, where famous people at the time presented poetry in admiration of his calligraphy. In the “dingsi” year of the Dali reign (corresponding to 777), he transcribed these verses of praise along with a preface by the master calligrapher Yan Zhenqing to compose this handscroll. Some of the lines here refer to natural phenomena or use exaggerated phrases to describe the beauty of Huaisu's cursive script. Other passages praise him as an inheritor of the “wild and crazy” cursive script of Zhang Xu in his pursuit of unusual and unbridled qualities. The entire work was done with fine yet strong brushwork, the features continuous throughout for an unlimited range of unusual expressions, making this the ultimate in the art of cursive script.

Summer Lotus

Southern Song dynasty painter Feng Ta-yu's “Lotus Blossom in the T'ai-yeh Pond” portrays a lotus pond with flowers in full bloom. Some blossom resplendently, face the wind and sport dewdrops. Other lotus flowers are still budding in anticipation of blooming into vivid colors. In the pond a flock of ducks leisurely swim while, in the air above, butterflies flutter and swallows spread their wings. The scene teems with vibrant life. This installation consists of an interactive virtual reality somatosensory space presenting a scene of summer lotuses filling a pond and the thousand charming details depicted by the painter. Furthermore, this digital presentation allows you to virtually experience the dynamism of life in summer.

The New Waves of NPM• The Time Transcending Cultural Relics Art Installation

“New Waves of NPM: The Taichung Cultural and Creative Industries Park Travelling” 4G New Media Art Exhibition is an effort devoted to transforming static cultural relic exhibitions into works that draw audiences closer to the true meaning of artworks while offering a high degree of interaction. The exhibition's display items are drawn from our collection of paintings, calligraphy, and famous artworks that encompasses every dynasty. Included are the Mao-Gong Ding from the Western Zhou dynasty, famous calligraphy from the Tang and Song dynasties, and paintings from the Song, Yuan, Ming, and Qing dynasties. In short, the exhibition brings together representative works in new media from every dynasty.

The New Waves of NPM art installation revolves around a timeline. This symbolizes the passage of cultural relics from ancient times down to the present and further represents the blood, sweat, and tears expended by scholars, museum staff, and multimedia experts, year in and year out. It presents the fruitful outcome of an extended dialogue between NPM technology, art, and history.

Lotuses in the Wind at Taiye, Feng Ta-yu, Song Dynasty

Feng Ta-yu was a native of Suchou in Kiangsu. He took the sobriquet I-chai and eventually served in the government position of Ch'eng-shih-lang. By the age of six he could already write prose, and he excelled at conveying the spirit of lotuses in every context of light and dark, wind and rain. In this work, the ninth leaf from the album Sung Yuan chi-hui, a pond is seen filled with lotus plants gently blown in every imaginable position. The red and white blossoms float above the water surface as a group of ducks leisurely feed below them. Butterflies and swallows can be observed flying about this lively scene of whiling away the summer. The Chinese title of this leaf includes the characters “T'ai-yeh,” which is found in Feng-ch'an shu of Records of the Grand Historian. Emperor Wu-ti (r. 140-87 B.C.) of the Former Han had a palace constructed at the T'ai-yeh Pond which included a pavilion. During the reign of his sucessor, Emperor Chao-ti (r. 86-74 B.C.), a golden swan was reported to have descended to the pond. Officials at the time took it as an auspicious sign. In Feng's album leaf of lotus blossoms, the harmonious composition and elegant coloring, complemented by the butterflies and ducks, echo the delicate air of auspiciousness in the above story.

Early Spring, Guo Xi, Song Dynasty

Guo Xi, a native of Honan province, entitled this work "Early Spring" and signed it "Painted by Guo Xi in the jen-tzu year (1072)." Coming after "Travelers Among Mountains and Streams" by Fan K'uan, this is one of the Museum's masterpieces of Northern Sung monumental landscape painting. Fan K'uan represented the solemn and eternal features of the mountains, while Guo captured the essence of spring with his evanescent and atmospheric use of ink washes. With "cloud-head" texture strokes for the mountain forms and "crab-claw" ones for the trees, the landscape in this painting seems to almost pulsate, flow, and disappear (only to reappear again), suggesting the hidden forces of Nature and the cosmos at work.

Travelers Among Mountains and Streams, Fan Kuan, Song Dynasty

Among the leaves of the trees in the lower right part of the mountain forest is the signature for “Fan Kuan.” A native of Huayuan (modern Yaoxian, Shaanxi), Fan Kuan (style name Zhongli) excelled at landscape painting, at first studying the styles of Li Cheng and Jing Hao and, because of his long years observing nature, he was able to create a style of his own. The composition of this painting is succinct; the foreground consists of large rocky outcroppings in the lower center, the middle ground reveals a line of donkeys, and in the distance stands a towering mountain. The foot of the peak has been left blank to suggest a band of clouds and mist, highlighting the effect of distance and height in the space. Angular strokes outline the forms throughout the work, to which short brush texturing was added to give substance to the landscape forms. The contrast between the monumental peak and the small train of donkeys here express an absorbing aura of majesty.

Wind in Pines Among a Myriad Valleys, Li Tang, Song Dynasty

On one of the peaks left of the main mountain is a signature that reads, “Brushed by Li Tang of Heyang in spring of the ‘jiachen' year (1124) of the Xuanhe reign of the Great Song.” Li Tang (style name Xigu), a native of Heyang (Mengxian, Henan) was active from the late Northern to early Southern Song. In a secluded valley grows a luxuriant forest of pines as a torrent of spring water flows downward. Although the mountain forms are layered densely, there is still a sense of space between them. With small “axe-cut” strokes to texture the mountain forms, to which washes of light and dark blue and green were added, the solidity and luster of the mountains form a unique effect. The light and dark coloring of the pine needles also creates a flourishing and dynamic effect. The pine forest of the foreground and overlapping water and mountain forms behind reveal a painting method that expresses deep distance.

Pure Distance of Mountains and Streams, Xia Gui, Song Dynasty

Xia Gui (style name Yuyu) was a native of Qiantang (modern Hangzhou, Zhejiang) and a painter at the Southern Song court. Entering service late in the reign of Emperor Xiaozong, he reached the height of his career under Emperor Ningzong, his period of activity also extending into the court of Lizong. The handscroll viewed from right to left depicts intersecting vistas of mountains and water, sometimes expansive and at other times dense, forming an extremely rhythmic arrangement to the composition. The painter here used "axe-cut" texture strokes to describe the hard, rocky features of the land and added plenty of water to the brush, expressing rich and moist variations of ink tones. The trembling brushwork in the painting suggests a sense of branch tips moving in the wind. In fact, the ability to delicately grasp this kind of formless sensory experience can be considered one of the most refined aspects of Southern Song painting.

agpies and Hare, Cui Bo, Song Dynasty

Ts'ui Po was a native of Feng-yang in Anhui Province who served in the Imperial Painting Academy during the reign of Emperor Jen-tsung(1023-1063). He was especially talented in painting birds, flowers, and bamboo. This painting depicts a pair of magpies, one of which hovers above with wings outstretched, while the other shrills from a branch. Beneath them a hare raises its head to cast a glance behind. The intimate balance of the various pictorial elements imparts a sense of life to the painting. The delicate brushwork of the magpies and hare contrasts harmoniously with the blunt brushwork of the hillside and the tree trunk.

Chimonanthus and Birds, Huizong, Song Dynasty

Huizong, given name Zhao Ji, was an artistic emperor gifted at the “Three Perfections” of poetry, calligraphy, and painting. He established a Painting Academy for the complete study of painting at the court, using lines of poetry for painting subjects to recruit and select artists of talent. He also paid attention to observing things as they appear in nature. This combination of painting theories fusing painting and calligraphy as well as “sketching from life” had a deep and lasting influence on the development of Chinese painting. This work may have been one of eight screen paintings by Huizong mentioned in Record of Paintings Stored in the Revival Halls of the Song, “Fragrant Plum Blossoms and Wild Bulbul.” With its lyrical and painterly manner, the refined use of brush and ink expresses the characteristics of the scenery, and the composition is succinct and designed into an “S”-shaped arc. In addition to “sketching from life,” great pain was taken to create aesthetic forms and an idealized realm of the pure and crisp atmosphere on a winter's day

Roaming through Fantasy Land - VR Immersive Virtual Reality Experience

“Roaming through Fantasy Land” adapts the late Song and early Yuan dynasty painter Zhao Mengfu's “Autumn Colors on the Qiao and Hua Mountains.” The VR immersive virtual reality experience whisks you from the real world into a virtual fantasy land. Here you will ride a chair through time and space as you roam through the autumn scenery of Jinan Province depicted by Zhao Mengfu. The remote control in your hands will then transform into a wormwood paddle for lightly rowing a small boat. This moving craft enables you to closely observe the lines the painter laid down to capture the contours of sandbanks, the ancient Yellow River, and pine trees, plus the disparate shades of blue-green used to depict both leaves and sandbanks. All of this, combined with the warm color tones of the shallow river surface waters engenders a wondrous confection of clashing colors. In turn, this deepens one's appreciation for the profound friendship that spurred Zhao Mengfu to paint this masterpiece for Zhou Mi.

Autumn Colors

Zhao Mengfu relied on memory to paint his “Autumn Colors on the Qiao and Hua Mountains.” He presented this freehand romantic and poetic landscape as a gift to his close friend Zhou Mi to relieve his homesickness. The season has just shifted into autumn, maple leaves are everywhere, and there are neatly ordered houses amidst the forest and goats trotting to and fro in between. A hardworking fishermen appears to be returning home from a rewarding trip that took maximum advantage of the comfortable weather. The woman in the house cannot resist leaning outside as if enchanted by the touching scene. This work interprets autumn's message via color and time sequence. In the digital somatosensory interactive mode, waving your hand at the painting enlarges it in sync with your hand motion. Doing this, you are presented with a highly detailed view of the aesthetic beauty of the “Autumn Colors on the Qiao and Hua Mountains.” You feel as if transformed into the very painter himself, taking up his brush to paint. This visceral experience further conveys the deep friendship and mutual esteem scholars often felt for one another.

Autumn Colors on the Qiao and Hua Mountains, Zhao Mengfu, Yuan Dynasty

Zhao Mengfu (style name Zi'ang, sobriquet Songxue daoren), a member of the Song dynasty imperial clan, went north after the Song fall to serve as an official in the Yuan capital of Dadu. This work, done in 1295 after heading back south from serving in the Ji'nan Circuit and for his friend Zhou Mi (1232-1298), depicts the scenery of Zhou's ancestral land. The composition of the scroll is succinct; by the shores of marshy slopes and expanses of water are the pointed Hua(buzhu) Mountain to the right and the rounded Qiao Mountain on the left. Both the sloping banks and trees are very similar to the motifs in Dong Yuan's landscapes. Through Zhao Mengfu's brush and ink as well as coloring, they have become even more animated, forming naturally beautiful scenery pleasing to the eye. Huang Gongwang was able to master a new vitality of brush and ink through this innovative revivalist technique of Zhao Mengfu.

Must See Paintings and Calligraphies Interactive Tabletop：Paintings and Calligraphies

Must See Paintings and Calligraphies Interactive Tabletop features a selection of fifteen classic works of painting and calligraphy, including such masterpieces as Wang Xizhi's "Timely Clearing After Snowfall" and Huaisu's "Autobiography," which reveal the emotions of the artists within the rhythm of the characters and the spacing of the lines. Paintings include Fan Kuan's "Travelers Among Mountains and Streams," Su Hanchen's "Children at Play in an Autumn Garden," Huang Gongwang's "Dwelling in the Fuchun Mountains," and Qiu Ying's "Spring Morning in the Han Palace," showing every wonderful detail of the figures in splendor and with their natural colors along with the precise yet lively brush strokes.

Spring Dawn in the Han Palace, Ch'iu Ying, Ming Dynasty

Qiu Ying (style name Shifu, sobriquet Shizhou) did paintings with the refinement of the Painting Academy and the atmosphere of scholar artists, becoming known as one of the Four Ming Masters. This work takes as its background a spring dawn in the Han dynasty palaces. Ladies are depicted in various activities, and the story of Mao Yanzhou doing the portrait of Wang Zhaojun is interwoven within. The scenery throughout the work is complex, the brushwork pure and strong with coloring beautiful and refined. The trees and decorative rocks play off the gorgeous palace architecture, unfolding magnificent scenery not unlike a realm of the immortals. Not only depicting groups of beauties, the painting also incorporates the literati leisure activities of the zither, “go,” painting, and calligraphy; appreciating antiquities; and cultivating flowers. Thus, it ranks as a masterpiece among Qiu Ying's historical narrative paintings.

Tasting Tea, Wen Cheng-ming, Ming Dynasty

Tasting Tea Wen Cheng-ming (1470-1559) Ming Dynasty Wen Cheng-ming came from a family of scholars and spent many of his years traveling the hills in pursuit of nature. Many of his works deal with his experiences from life. He was also a connoisseur of tea and once wrote, “I have never touched wine, but I have always been intoxicated by tea.” Typical for scholars, tea was not only a part of Wen's life but also a subject of his poetry, painting, and calligraphy. This work shows friends tasting “before-the-rains” tea. In an elegant thatched hut, 2 figures sit facing each other tasting tea and engaged in light conversation. On the table is a teapot and tea bowls. Outside, a figure comes across a bridge. An attendant in the tea hut fans flames to boil spring water for tea in this intimate gathering.

Lofty Mount Lu, Shen Zhou, Ming Dynasty

Lofty Mount Lu Shen Zhou (1427-1509), Ming dynasty This painting features a seal-script title in three characters for “Lofty Mount Lu” along with a long poem from 1467, in which Shen Zhou uses the majesty and vigor of Mount Lu as a birthday blessing for his teacher, Chen Kuan. The painting depicts a lofty mountain with crags and ravines. At the top, the peaks in the distance are connected, while the mountain in the middle is divided and compact, a waterfall cascading downward on the left. To the side are areas left blank with their sides in ink washes, expressing both the majesty and misty atmosphere of the scene. The painting as a whole employs the method of dense texture strokes used by the Yuan dynasty artist Wang Meng, rendering the characteristic of faceted mountains and imparting a sense of life to the landscape. Below the waterfall stands a figure appearing quite miniscule in comparison. He stands in the shade of lofty pine trees, making Mount Lu that he looks up to appear even more majestic, reflecting both its life and energy. The scenery here and the long poem take the form of image and text that echo each other to express Shen Zhou's respect and admiration for his teacher.

Fishing in Reclusion Among Mountains and Streams, T'ang Yin, Ming Dynasty

T'ang Yin (style names Tzu-wei, Po-hu; sobriquet Liu-ju) was a native of Suchou, Kiangsu. He had a free, unrestrained, wild manner. In 1448, at the prefectural examinations, he graduated with the highest honors. He studied the painting of Chou Ch'en but greatly surpassed him in skill and fame. T'ang Yin was also noted for his poetry and calligraphy, and he is counted as one of the Four Masters of the Ming dynasty. This handscroll shows sparse trees along the steep bank of a river. Fishermen's huts, waterside pavilions, and other houses are scattered among hills and maple trees. Skiffs float leisurely, and anglers dangle their feet in the water and amuse themselves with music. Inside pavilions, men kneel for a bout of drinking while others lean on outside balconies, and, further afield, some stroll with their staffs. Axe-cut texture strokes made with a centered-tip brush and moist ink are seen throughout. The brushwork is firm and sharp, and the coloring is bright and attractive.

It's a Big World: Globetrotting

This large floor-area interactive installation features a projection of Kunyu Quantu (World Map) on the floor, in which images of the hemispheres take up the entire center of the display. In fact, it looks like you can literally globetrot the world in any direction from the center. Visitors can move about freely and experience the feeling that the Kangxi Emperor had when he saw the map more than 300 years ago. The interactive display uses an element of drama to convey the contents. When the visitor enters the area, he or she is immediately immersed in an all-encompassing star-filled night. From the conversation between Ferdinand Verbiest and the Kangxi Emperor, the visitor can come to understand the features of Kunyu Quantu. What follows is an atmosphere of the universe, which is what the ancients experienced with astronomy, presenting a geographical survey of time and space. Then there is also the theater of beasts, in which the creatures portrayed on the map come to life through animation right before your eyes.

Adventures in NPM: Meeting Masterpiecesthe Painting and Calligraphy

honored with the Gold Remi Award (in the Film and Video Productions category) at the 46th WorldFest-Houston International Film & Video Festival and the Silver Short Film Award (in the Short Film category) at the International Committee for Audiovisual and Image and Sound New Technologies. In this film, the inquisitive Child Pillow inadvertently enters the painting, Dwelling in the Fuchun Mountains, where he meets the little white horse from One Hundred Horses who has lost its shadow. While searching for the little white horse's shadow, the Child Pillow meets Pixie and Jade Duck (both sent out in search of national treasure) and accidentally knocks over the Scent of Flowers Wafting calligraphy on the exhibition cabinet. This time, the Child Pillow is really in deep trouble.

Adventures in NPM: Lost in the Art of Landscape Painting

honored with the Platinum Remi Award (in the TV Commercials & Public Service Announcements category) at the 46th WorldFest-Houston International Film & Video Festival. The chivalrous Child Pillow, Pixie, and Jade Duck encounter a little page boy in a state of panic. It turns out that the little page boy's master, the gifted scholar Mr. Tang, had a bad fall and suffers from amnesia now. Scholar Tang is missing as they speak. Will they be able to quickly locate the little page boy's master in Fishing in Reclusion Among Mountains and Streams (painted by T'ang Yin in the Ming dynasty) and succeed in restoring his memory?

Adventures of the Mythical Creatures at the National Palace Museum

honored with the Silver Remi Award (in the Film Short & Videotaped Animation category) at the 49th WorldFest-Houston International Film Festival, the American Alliance of Museums 27th MUSE Award, and the Honorable MUSE Award for Video, Film and Computer Animation. The ancient map Kunyu Quantu (World Map) emits a thunderous booming which intrigues the wondrous animals featured in Giuseppe Castiglione's paintings and leads them into a thrilling, extraordinary adventure. The animated creatures include a giant hound (the Tibetan mastiff from the Ten Fine Hounds painting), Rujie (the Yellow Panther in the Ten Fine Hounds painting), a long-haired dog (from the Long-haired Dog Beneath Blossoms painting), a lemur (from the Cochin Lemur painting) and a deer (from the Auspicious Roe Deer painting). This film is NPM's first 4K animation and utilizes techniques drawn from this cinematic genre to transform animals in Castiglione's paintings into the mythological creatures enlivening the film. This presentation combines Taiwan's top animation team and leading-edge 4K animation to consummately express the esthetic appeal and eternal charm of Castiglione's paintings.

Everyone can paint "One Hundred Horses"

Lang Shining's "One Hundred Horses" is presented on four large video screens. In front of each screen there is a plinth with a touch screen on which visitors can draw with a digital paintbrush. The horses in the Lang Shining painted scroll are initially mostly all white; the visitor can choose any one from the group they are looking at, bring that horse onto their touch screen, and then use the digital paint-brush to color it in. Once finished, the personally colored horse can be sent back into the painting where it will remain for a while before turning white again. As a consequence, the one hundred horses are continuously being repainted during the exhibition by its visitors, who are given the opportunity by this installation to add their creativity to that of Lang Shining's.