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 used 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 boundaries, 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 artistic styles and diverse personalities of the painters. In a sense, Chinese oil painting is a rich visual cultural reader of contemporary Chinese art. Selecting the works of ten outstanding Chinese oil painters for publication is a highly academic endeavor. These ten painters represent different periods in the mid-20th century, whether living in China or abroad. Through long-term exploration and accumulation, they have created distinctive artistic styles. Their works have had a significant impact on both the international art community and the general public, and their artistic achievements have become symbols of China's exchange 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 feature: based on the study of Western oil painting techniques, it integrates China's own cultural traditions, particularly the concept of harmony between nature and humanity and 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 the context of economic globalization today, 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 Chinese Artists Association, chair of the Oil Painting Art Committee, vice chairman of the Chinese Oil Painting Society, and a member of the National Committee of the Chinese People's Political Consultative Conference. Currently, he is 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 there. He served as vice chairman 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), and Winter Solstice, Is Spring Far Away? Among others, his works have been exhibited, awarded, and collected overseas multiple times. Additionally, he is 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 by Zhu Nai Zheng, and Sixty Small Paintings and Calligraphy 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 open landscapes. The Qinghai-Tibet Plateau is majestic and rugged, with an ethereal atmosphere. For centuries, the Tibetan, Han, Mongolian, Uyghur, and Tu ethnic groups have inhabited this region, and their simple customs resonate with my own nature. When I first arrived in Qinghai, it was a period of hardship. Still carrying my painting tools, I traveled across the provinces and counties of Qinghai, immersing myself in the raw and authentic emotions of the western frontier and searching for 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 artistic endeavors on the plateau. By the mid-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 frontier 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 Clouds, I continued with works such as Spring Wind, Viewing, Returning to the Nest, and National Soul—A Ode to Qu Yuan, which opened up new artistic dimensions. In recent years, the Western Frontier series of oil paintings has gradually been unveiled, with works that offer a more generalized portrayal of the plateau's natural landscape, 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 Masters' Calligraphy and several Mi Nan Gong's Calligraphy albums I carried with me, I began practicing calligraphy by emulating Mi Fu and other Song Dynasty masters such as Su Dongpo and Huang Tingjian. At the time, life was, and I lived in a small, cramped room. Long nights under a single lamp often left me sleepless, lost in inspiration until the paper ran out and the ink was exhausted, my body drenched in sweat, and I fell asleep in my clothes. Later, I was fortunate to obtain the Three Masters' Calligraphy collection, which allowed me to trace back to the Jin and Tang dynasties and forward to the Ming and Qing periods. Gradually, I came to understand the essence of painting, the principles of brushwork, and the meaning of strokes. Nai Zheng also enjoys reading classical literature, though he does not seek deep understanding. By meticulously copying the famous calligraphy of the Tang and Song dynasties, he also enjoys writing mixed prose and prefaces, and over the years, he has written numerous prefaces and introductions for renowned Chinese calligraphers and painters, sharing his insights on the art of calligraphy and painting. 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 artistic realm and imagery is a major challenge for me. After much contemplation, this dream seems unattainable, and though I strive to the best of my ability, it will be an endless pursuit!