are many paths to the top of the mountain, but the view is always the same.
mountains of Mogan Shan have been witness to much change in their long history.
Communities have appeared and disappeared within a generation, after playing
out their roles on the mountain's misty slopes. Mogan Shan has been the stuff
of legend, from the forging of two mythical swords by the master swordsmith Gan
Jiang in one of its cold springs during the Spring Autumn Period (722 -
481 B.C.); more recently, it has gained popularity as a pricey weekend getaway
for city dwellers in Shanghai searching for crisp breezes and rejuvenating
views. In all the time between 481 B.C. to the present day, these patient
slopes have seen Emperors come and go on hunting steeds from nearby Hangzhou;
foreign missionaries who left home charged with their god's blessings with
hopes of changing the religious face of a proud, implacable country and foreign
businessmen who had less altruistic purposes for coming to China. Throughout
these dramatic upheavals, the mountains have remained unmoved, unmoveable and
In "Dragonfly over Moganshan", an LED
animation of a pair of legs flickers through wisps of sunset clouds like a
dragonfly over a stagnant pond. The capricious dragonfly, with its erratic
flight pattern, is the polar opposite of a longstanding mountain range.
Symbolizing change, unpredictability, it juxtaposes the fleeting and paltry
nature of human concerns against the infinite nature of our earth. In "Dragonfly over Moganshan", Liu Dao creates a metaphorical, reflective panorama of humility and perspective. The flitting,
darting image of the animation against the background of the solemn monoliths reminds
us of the triviality of our lives and affairs in the larger history of time. [Loo Ching Ling 吕晶琳]