“Like his writing, his paintings convey poetry, intellect, and powerful narrative. At the same time, Gao . . . is a master of ink technique, and his works exude a creative energy born of Chinese tradition while being thoroughly universal and contemporary. . . . Whatever the current winds of whim and politics, Gao’s place in China’s cultural history appears to be indisputably set.”

New York Times, on an exhibition of Gao Xingjian’s paintings

“A mesmerizing gallery of ink-wash works that illustrates the different techniques, themes and periods in Gao’s extensive body of work. The . . . book, however, is more than just a monochrome beauty. Bergez . . . plumbed the depths of Gao’s works in brush and pen to surface the profound harmony between his writings and paintings. The result: a visually sumptuous read that is erudite yet approachable.”

Huang Lijie | The Straits Times (Singapore)

“[Gao] has been both lauded and criticised internationally for the complicated, elusive and labyrinthine structure of Soul Mountain, which eschews a traditional plot for a series of personal, evocative ruminations. . . . His paintings, though deep, are burdened by no such convolutions. Their beauty lies in their intense simplicity. His works (always black ink on paper and, later, canvas) blend the abstract and the literal in remarkable, decisive ways. Images are fluid and interpretation is open, like a Rorschach. Is that a tree? A telephone pole? A bleeding wound? . . . Collected, the images are nothing short of astonishing.”

Madeline Gressel | South China Morning Post

“Highly readable and enjoyable. . . . Generously oversized, the book beautifully illustrates Gao’s work.”

The Bangkok Post Magazine

“A triumph.”

Jessica Harrison-Hall | curator, Department of Asia, British Museum