Mythical Reflections on a Whim

by Huang He-ya

The literary work *Wenxin Diaolong* states, “In the mountains and forests, and on the riverbanks, there lies the true essence of literary thought.” This phrase originally praises Qu Yuan, who, immersed in the land of Chu, where rivers and mountains converge, drew inspiration from nature and thus created extraordinary works. Literature is such, and art is no different. “Nature,” as the mother of the universe, renders humanity minuscule in comparison. As described in the creation myth “Pangu Splits the Sky”: “The insects on his body, touched by the wind, transformed into the people.” I believe that Lu Yanyu’s works embody this reverence for nature, questioning the form and essence of life and even the soul.

Myths represent the integrated consciousness of early humans, and “diminishing the self” was their greatest wisdom. This act of “diminishing” indeed allows humanity a broader and deeper perspective of the world. Lu Yanyu’s works deviate from normal animal proportions, as seen in *Deviant Beast – Slow Life III* and *Deviant Beast – Double Shadow 4*. I surmise that this deviation arises not just from “difference,” but from the artist’s “diminished self,” viewing the beast from a low angle, resulting in unusual proportions. Such works are invaluable. Modern society suffers from the malady of “self-aggrandizement.” If everyone on Earth magnifies themselves, nature will eventually be exhausted, and the world will no longer bear the pollution humanity creates. Additionally, regarding the essence of the works, Lu Yanyu does not completely “reinvent” the mythical beasts but instead creates an unreal structure based on realistic forms. This approach aligns with the “comparison” method in the Chinese classical literature *Shijing*, where concrete images from nature are used to express profound inner feelings. Similarly, under each of Lu Yanyu’s fantastical beasts, the core of his creation, “wild growth” and the endlessness of “life,” is revealed.

In discussing “form” and “structure,” we touch upon the “external” and the “internal.” Roland Barthes in *Mythologies* states: “At the level of ‘life,’ there is only one inseparable whole of form and structure.” This contradiction is intriguing; while art can dissect the external and internal, “life” cannot be similarly separated. This is the essence of life. How do we know that “life is endless”? The German philosopher Cassirer posits: “All myths are a persistent, firm denial of death.” This notion resonates with the “transformation” in Lu Yanyu’s works. “Transformation myths” are those where one life form changes into another, such as in Eastern legends where plants transform into human forms, or in Western tales where humans morph into animals or plants. Viewing *Black Dog II* or *Feather Shell II* through this lens is logical; they bear the form of human hands, subtly suggesting that they are us—only the outer shell has changed, but life and the soul persist.

French philosopher Montaigne said: “The most important thing in the world is to know oneself.” “Myth” is like “a mirror” reflecting humanity; “whims” are like “looking in the mirror,” observing all things and simultaneously looking at oneself, thus knowing oneself. Observing nature with a “diminished” perspective and expressing life’s forms through “transformation,” I privately believe that Lu Yanyu’s works are also a manifestation of myth.