TRANSMISSION OF EAST TO WEST, ONE MAGNIFICENT VIEW YUN GEE'S EASTERN AESTHETICS "Here in Paris, the new world was combined with the old. What glorious days I spent roaming through the Louvre, viewing the masterpieces, and passing before the cathedrals and the ancient shrines. This was Paris, the seat of an undying, eternal culture and it created fresh inspiration in me." - Yun GEE, 1944 As an artist, a poet and a fan of drama and dance, Yun Gee's talents are full of artistic styles, cross-cultural artistic language and unique modern style. As the first Chinese artist to study abroad in the early 20th century, his life spans from Guangzhou to San Francisco to Paris and then to New York, this inter-regional experience has created Yun Gee's unique modernist art and rich life experience. With a global mindset, a mature and internationalized artistic language he is a pioneer in the history of Chinese art. Yun Gee's artistic journey can be divided into the "San Francisco Orphism Period", the "Parisian Lyrical Period" and the "New York Industrial Period". Born in the East and raised in the United States with two stints in Paris, Gee, with his rich eastern cultural heritage, was deeply involved in the Western International Modern Art Movement. In 1927, he was first introduced to Paris by the French Prince and Princess Achille Murat. The rich artistic inspiration and the style of Paris were extremely attractive to him. In addition to the influences of Orphism and cocolorism in the past, Yun Gee was influenced by the Parisian art scene of that time. The introspective spirit of Cézanne-like color as well as returning to the core reflected a sort of eastern poetic sentiment. Influenced by the blending of European cultures, Gee tried to use the Western art form as a way to interpret oriental philosophy and incorporate more Eastern cultural heritage into his works, emphasizing rhythmic lines like that of calligraphy while showing the artist's geometric structure from the San Francisco period. Gradually this evolved into into a curved structure, and the attempt of this kind of curve structure to be reflected from his earliest work "One Who Loves Himself". "In the painting a crane with a fan in its mouth stands on a circular object like a globe, facing a man in a traditional costume wearing a robe. This painting is related to Taoist philosophy and expresses the concept of Taoist longevity. According to the name of the painting, the crane is a symbol of long life in the Taoist tradition." "One Who Loves Himself" presents the essence of Chinese Taoist thought. The longevity of the crane standing in the universe, the old man wearing a robe on the right talking with him, explaining the truth of the universe. The background is presented in abstract color blocks. The rhythmic lines form the basis of this piece. The S-shaped curve of the crane's neck echoes the curve of the man's left sleeve, and the rhythm of the lyrical lines comprise the most notable element of Gee's Parisian style. "The East and the West have many similarities, they are not dissimilar." It is the idea that Yun Gee wanted to express in Paris. The most noteworthy feature of "One Who Loves Himself" is the signature of the "Blue Wuzhou" (five continents) in the lower right corner. The five continents are like the five continents on the earth and also reflect the unique world view of his artistic creation. Yun Gee's creation has transcended the limits of the times. After several cultural exchanges, he created the ingenuity of the unique characteristics of East and the West. Focusing on the expression of personal cultural heritage, the presentation of the value of life reflects the cosmology of the spirit of the East as well as human spirit. With the poetry of Eastern philosophy and the artistry of oriental flavor, Gee has blossomed across the times.