You may think I have a thing for bridges. We drove several times over this bridge in Nanchang, 12 hours W. (by train) of Shanghai in China. After our son’s first year of teaching English there, I and my hubby travelled with him to 4 cities.
As in so many old cities, this bridge divides the residential area from the inner city with stores and restaurants.
During the day this is a functional grey concrete structure with steel cables coming down from the two pillars.

Even though this city has more than 2 million inhabitants and is known for its colleges, foreigners are treated and stared at like celebrities. Our company of three got plenty of stares – mainly because my hubby and my son are taller than 6 feet. Not a day went by that he was not asked by Chinese fathers to be in the pic with their teen daughters (as a kind of a novelty and/or joke).

Oil, 12 x 16, St Germain
At sunset, the bright colors of the sky are reflected into the water. While edges in the landscape blur, this structure is transformed into two watchmen standing by the water as protectors of the city. This is why I love art: it seeks beauty and potential in the ordinary things.
There are numerous bridges in Beijing, the capital in the North, where the Olympics were held in 2008. This old, beautiful, marble stone looking bridge, connects the main street while we were on our way to the Forbidden City (where the palaces of the royal families are located – a must see!).

Very interestingly, they built a new bridge, not even a block away. The Chinese are a very industrious kind of people. We always seemed to see them working. here, by the new bridge, we finally saw some Chinese vacationers in small sightseeing boats. How indulgent must the Western yachts look to them!

Here, I finally took the chance to paint en plein air (open air). Even though I do not speak one word Chinese, I felt safe enough to walk alone from the hostel to the new bridge and started making a sketch. Out of the corner of my eye, I saw people looking, but they remained at a respectful distance.
Later I heard from one of the workers at the hostel, a twenty-something woman who spoke perfect English, that Chinese artists do not paint in the streets. So I may have been a novelty (even in the capitol city). When they would pass me, they made an encouraging comment or gesture.
This young woman was very intrigued when she saw me doing an oil painting at the patio of the hostel. She had never seen an oil before, even though her sister is attending the art academy. Watercolor seems to be the main painting medium.
When she went on to talk about her brothers and sisters, I discovered that they are not really siblings, but nieces and nephews. Asking her about that, she said with longing in her voice that she wanted so much to have brothers and sisters, but they are not allowed to (referring to the one-child-rule, and otherwise you’ll pay a fee – so much for government interference over family life).
Oil, 18 x 36, St Germain
My paintings are usually not quirky, but this one turned out to be one. Maybe because I broke a rule in design with placing the new bridge in the middle of the painting. A Chinese college student here in the US pointed this out to me. If you know Europeans a little (I am Dutch), you’ll know that I do not care if I broke a rule in art. I responded with “So?” She was shocked that my apparent disregard for rules, illustrating opposite cultural attitudes on this subject.
The use of colors of a cloudy sky contrasting with the sunny colors of the bridge steer away from realism. My own perceptions shine through in displaying the little boats almost looking like toys.
I wanted this to be the Happy Bridge for the Chinese: a place to relax from monotone work, to laugh, being away from stress, and enjoy the simple pleasure of a boat ride.
After we came home and recouperated from jet lag, I painted my heart out before all my first impressions would fade away.
Leave a Response »