Collection Artwork
Yun-Fei Ji (born Beijing, China, 1963)
Bon Voyage
ink, mineral pigment on mulberry paper
image size: 77 x 26 1/2 in.
frame size: 80 x 29 7/8 in.
Gift of Peter Norton

Object Label

At a distance, Yun-Fei Ji’s rendering of the Yangtze River resembles a traditional ink painting from the Song dynasty (960–1279). However, upon closer inspection, images of contemporary life emerge. A crashed helicopter, abandoned cars, and an empty cart appear along the mountainside. Rural villagers carrying heavy baskets scramble up a rocky path, while on the opposite bank, figures in hazmat suits conduct tests on the river water.

Oversized creatures, including a grasshopper, a heron, and a water monster line the banks, dwarfing the nearby figures and vehicles. In combining these elements, Ji’s Bon Voyage comments on the detrimental impact of humanity on the natural world; the outcomes of pollution and industrialization on both humans and wildlife.
—Serena Hildebrandt ’20

在远处看, 季云飞对长江的描绘颇似宋代(960–1279)的传统水墨画。但是, 仔细观察, 就会发现当代生活的形象。一架坠毁的直升机, 多辆废弃的汽车和一个空的手推车出现在山腰上。提着沉甸甸篮子的村民们爬上一条山路, 而在河对岸, 身着防护服的人员在对河水进行测试

蚱蜢、苍鹭和水怪等超大生物排列于两岸, 衬得附近的人物和车辆格外矮小。结合这些元素, 季云飞的《一路顺风》评点了人类对自然世界, 以及污染与工业化对人类和野生动植物造成的影响。

From the exhibition: Between the Mountains (January 25 – July 5, 2020)

Ongoing Research

Research on our collection is ongoing. If you have resources you’d like to share, please contact Associate Curator Rebecca McNamara.

Learn more

Between the Mountains
Ryan Richard Overbey on Yun-Fei Ji
Pattern by Atlan Arceo-Witzl ’18
Inspired by the exhibition Other Side: Art, Object, Self
The Tang Pattern Project celebrates the Museum’s 20th anniversary. Organized by Head of Design Jean Tschanz-Egger, past and current Tang Design Interns created patterns inspired by the Museum’s exhibition and event history.