Artist: Chingltu

Chingltu (China, b. 1985) graduated with a Master of Fine Arts from the Art Academy of Inner Mongolia University and currently lives and works in Shanghai. His creative process is profoundly influenced by his childhood memories of the pastoral lands, with recurring themes of contrast and tension: the city and the grasslands, the natural and the artificial, passion and rationality. After the pandemic, Chingltu turned his focus to the nomadic legend of the “Three Stones,” exploring the essence and truth of contemporary life. His work draws from religious philosophy but ultimately reflects back on the earth we inhabit, contemplating urban civilization through the lens of nomadic traditions. He seeks to uncover the commonalities and conflicts between urban life and nomadic culture, as well as the balance between reality and imagination. His works have been exhibited in the National Art Museum of China, Shaanxi History Museum, Today Art Museum, and Xi’an Art Museum.

The title Distant Gallop encapsulates a rich tapestry of meanings. The drum represents the heartbeat of nomadic rituals, a vital symbol of the shaman’s role as a spiritual bridge between nature and humanity, past and future. The gallop evokes the untamed energy of horses racing across vast grasslands, embodying the freedom, vitality, and mobility of nomadic culture. The word distant speaks to the infinite expanse of space and the enduring flow of time, suggesting both physical vastness and spiritual timelessness.

The history of Mongolian nomadic tribes traces back millennia to the Donghu and Xiongnu peoples, whose reliance on the grasslands shaped a unique way of life and social structure. Shamanism, rooted in animistic beliefs, was the original faith of Mongolian nomads, emphasizing reverence for nature and the interconnectedness of all things. Shamans, through drumming, prayer, and dance, engaged in dialogues with spirits. Chingltu’s inspiration stems from such nomadic traditions, with the “Three Stones” symbolizing the makeshift hearth used by nomads, supported by three stones arranged in a triangle. These stones represent the triadic unity of “heaven, earth, and humanity,” while fire symbolizes life itself. Mythological elements like knights, flying horses, and heroes from the epic Jangar embody courage, strength, and wisdom in his works. Rather than literal narratives, these motifs serve as abstract representations of energy, forming a unique visual language rooted in nomadic aesthetics.

Chingltu’s art revolves around contradictions and tension, with energy as a central theme. The interplay of city and grasslands, nature and artificiality, passion and rationality permeates his exploration of the shared attributes of nomadic and urban civilizations. Through dynamic brushstrokes and emotive colors, he seeks equilibrium in energy, bridging reality and imagination. For Chingltu, painting is an act of transcending reality, channeling immense spiritual energy through layering and smearing. His creative process transforms cultural imagery into visual symbols, drawing on the natural world through the use of mineral pigments. By crafting his own pigments, derived from the earth, and applying them to meticulously prepared multi-layered canvases, he achieves profound visual depth. His technique incorporates gauze layers to enhance pigment adherence, imbuing his works with a rich texture and luster that echo the rugged beauty of the grasslands and the timeless mystery of nature.

The 2025 solo exhibition “Chingltu: Distant Gallop” will showcase the artist’s latest works. “Bee Horse”, a large-scale piece composed of six canvases, draws inspiration from the “flying horse” imagery found in Mongolian mythology and epic tales. It symbolizes the profound connection between Mongolian culture, nature, and the divine, embodying spiritual strength. The work "Crevice" depicts a lake named after wild geese in the artist’s mother’s hometown, once an oasis now facing the threat of drying up due to human activities. “Legend” focuses on fire, regarded as sacred in Shamanism, shrouded in mystery and symbolizing spirituality and supreme power. “Drum Hoof Topology” channels the energy of a knight’s external image, delivering an intense sense of motion and power.

“When towering mountains were mere hills and vast seas were but small ponds, there was a land called Baomuba, ruled by the heroic King Jangar.” As the distant gallop of hooves fades, we are drawn into this mystical realm! Chingltu’s creations go beyond mere depictions of grassland landscapes or nomadic culture. They inspire audiences to explore, with poetic romanticism, the harmonious relationship between humanity and nature, tradition and modernity, and soul and faith.