Ten Chinese Oil Painters: Zhu Nai Zheng

Author: Wang He
Publisher:
Publish Date: 2004-12-01
Features: The introduction of European oil painting to China initially was merely a new painting technique adopted and utilized by Chinese painters. However, after a century of exploration, oil painting has today become a language for Chinese painters to freely express their thoughts and emotions. Art knows no borders, and oil painting is a universally recognized category in the international art world. Yet, Chinese oil paintings created by Chinese artists carry a unique cultural essence of China. Through the "Chinese Oil Painting" landscape, one can see the history and rich content of contemporary Chinese society, as well as the prolific and diverse styles of Chinese oil painters. In a sense, Chinese oil painting is a visual cultural reader of contemporary Chinese art with profound meanings. Selecting works from ten outstanding Chinese oil painters for publication is an academically significant endeavor. These ten painters represent different periods in the mid-20th century, whether living in China or abroad, they have created distinctive artistic styles through long-term exploration and accumulation. Their works have had a significant impact on the international art community and the general public, and their artistic achievements have become representatives of China's exchanges with the world. The personal experiences and artistic inclinations of these ten painters vary. In terms of themes, some focus on social phenomena, while others emphasize psychological expression. In terms of artistic form, some lean toward realistic depiction, while others favor abstract expression. However, their art shares a common cultural characteristic: based on the study of Western oil painting techniques, they have integrated China's own cultural traditions, particularly the concept of harmony between nature and humanity in Chinese cultural traditions, as well as the method of unifying the depiction of the external world with the expression of the inner world. This gives their works a unique Chinese cultural imprint. In today's context of economic globalization, the shared space for international art has expanded. These ten painters, through their unique artistic languages, embody the spirit of the times, humanity, nature, and trees, leaving an indelible mark on the history of contemporary art. The World Knowledge Publishing House has chosen these painters to promote the achievements of Chinese oil painting in international cultural exchanges. We believe that these artists' works, as representatives of Chinese art, will engage audiences from diverse cultural backgrounds in broader cultural spaces, thereby achieving the purpose of bridging hearts and minds and enhancing cultural understanding.
Zhu Nai Zheng (1935–) is a native of Haiyan County, Zhejiang Province. He is a member of the China Artists Association, the Director of the Oil Painting Art Committee, the Vice President of the China Oil Painting Academy, a member of the National Committee of the Chinese People's Political Consultative Conference, and currently a professor and doctoral supervisor. In 1953, he entered the Central Academy of Fine Arts and studied under masters such as Wu Zuoren, Ai Zhongxin, and Wang Shiku. He graduated from the Oil Painting Department in 1958. In the spring of 1959, he was assigned to work in Qinghai Province and spent twenty-one years working on the Qinghai-Tibet Plateau. He served as the Vice President of the Qinghai Provincial Artists Association and a Standing Committee Member of the Qinghai Provincial People's Congress. In the spring of 1980, he returned to Beijing to teach at the Central Academy of Fine Arts and later served as the Vice President of the academy. His major works include: Golden Season (collected by the National Art Museum of China), National Soul—A Ode to Qu Yuan (awarded a bronze medal at the 6th National Art Exhibition), Winter Solstice, Is Spring Far Away?, and others. He has participated in numerous overseas exhibitions, received awards, and had works collected. In addition, he is also skilled in calligraphy and ink painting. He has published works such as: Selected Sketches by Zhu Nai Zheng, Selected Works of Zhu Nai Zheng, One Hundred Ink Paintings by Zhu Nai Zheng, Selected Small Oil Paintings of Zhu Nai Zheng, Sixty Small Paintings and Calligraphies by Zhu Nai Zheng, Selected Sketches by Zhu Nai Zheng, Contemporary Masters Series 125—Zhu Nai Zheng, and The Artistic Journey of Zhu Nai Zheng.
I was originally from the south but moved north. Though I retain a southern temperament, I prefer vast and unbound landscapes. The Qinghai-Tibet Plateau is majestic and rugged, with an ethereal grandeur. For centuries, the Tibetan, Han, Mongolian, Uyghur, and Tu ethnic groups have inhabited this land, with their time-honored customs resonating with my own nature. Upon arriving in Qinghai, I found myself in a period of hardship, carrying my painting tools and heavy luggage, traveling across the provinces and counties of Qinghai to experience the raw and authentic emotions of the western regions. There, I sought to find my own artistic language. In the early 1960s, I created oil paintings such as Folk Customs on Snowy Plains, illustrations for the Tibetan epic King Gesar, May Starlight, and Golden Season, which marked the initial fruits of my efforts on the plateau. In the 1960s, my passion for painting grew. Through the creation of the series Silver Dreams, I gradually transitioned from depicting reality to creating art. In 1980, I was transferred from Qinghai to Beijing and returned to my alma mater, the Central Academy of Fine Arts, to teach. Though I had left Qinghai, the landscapes of the western regions remained etched in my heart. Even after having experienced the mountains and rivers of China, my spirit still belonged to the plateau. Starting with the creation of Qinghai's Long Clouds, I continued to produce works such as Spring Breeze, Looking Forward, Returning to the Nest, and National Soul—A Ode to Qu Yuan, which opened up new artistic dimensions. In recent years, the oil painting series Western Winds has gradually been unveiled, with works that offer a more generalized portrayal of the natural landscape of the western plateau, aiming to express a comprehensive sense of nature and life. In essence, these paintings are my artistic creation.
With a few copies of the Three Pings Collection and some Mi Nan Gong's Scattered Notes I carried with me, I began to study from Mi Fu and other Song Dynasty masters such as Su Dongpo and Huang Tingjian, meditating and practicing. At that time, life was hard, and I lived in a cramped and humble dwelling. Long nights under a single lamp often left me sleepless, lost in creativity until midnight, with paper and ink exhausted, exhausted in sweat, and falling asleep in my clothes. Later, I was fortunate to obtain the Three Bao Jin Zhai Collections, which allowed me to trace back to the Jin and Tang dynasties and forward to the Ming and Qing dynasties. Gradually, I grasped the essence of painting, the principles of brushwork, and the meaning of strokes. Nai Zheng also enjoys reading classical literature, though without seeking deep understanding. Through extensively practicing the famous calligraphy of pre-Tang and Song masters, I also delight in writing mixed prose and prefaces, and over the years, I have written numerous prefaces and introductions for renowned Chinese calligraphers and painters, where my insights into the art of calligraphy and painting are scattered. The enduring and profound spirit of Chinese calligraphy and painting is the lifeblood of my artistic pursuits. How to interact, integrate, and selectively absorb the essence of both Eastern and Western traditions to create a unique realm of artistic imagery is a great challenge for me. After long contemplation, it has become a dream, one that seems difficult to fulfill. Though I have exhausted all my efforts, it will remain an endless pursuit!