Selected Comments on Zhu Cheng’s Works
(原标题为:《“八五美术”史实考据案例展 · 朱澄个展 · 2015湖北美术馆论坛案例展前言：案例说明》，
Preface in 1989
By Mu Qun
(Professor of History and Theory of Art,
Sichuan Fine Arts Institute)
In the world of art, the style of traditional Chinese paintings has never changed for various reasons. Way of nature is the principle that “Way will change not if Nature does not”. Thus the Way of painting keeps booming for the nature lives forever. Art developed in such a historical way from Map of the Yellow River and Book of Luo River in the ancient times, initial formation in Wuding Period and prevalence in Wei and Jin Dynasties, to prosperity in Song and Yuan Dynasties and impregnability in Ming and Qing Dynasties. Even though it declined in the following decades, artists all over China followed the stereotypes. Hence, it is seen that the art pursues nothing but the specificity.
Nowadays, the whole world of art is turbulent filled with voices of crisis, which marks the end of stereotypes. Since then, the Way of traditional Chinese painting really starts to change. Looking at those so called modern artists, some of them learn the ways of western painting, while others excel in black and white painting. It appears to be an exceptionally great occasion because of various painting skills, which seems prosperous after the crisis. Leaving alone the question about true or false prosperity, there is one thing I know clearly: things decline when they are supposed to be prosperous; chaoses happen when something is going to be unified. That is why art declines. The principle of prosperity is to govern in disorder and unite in dispersion. However, it is so hard to definite the art, because the painting is a mirror of mind and the way is a reflection of culture, besides, the essence and dross of tradition are integrated and mixed, gradually have an impact on artists. The thoughts of works are excluded from the form and content, and nothing is newly born even though the so called modern styles are adopted. However, artists who stick to traditional skills are not old guards. In present art circle, most artists try seeking for new styles, but few for further exploration of traditional skills.
My young colleague, ZC, who studies hard on History of art when he finishes teaching tasks, is odd in character, unique in thinking, and concentrates in exploring the traditional paintings rather than finding new things. When I saw his paintings, I realize his paintings are combined with vigor and wisdom, which let me feel refreshing. He, who is well versed in the study of traditional paintings, thinks that paintings without grace and liveliness are not good at all. His The Three People which is an impression of The Three Friends by Ren Yi outlines the system of great unification and spirit of common souls. The Fossilization in the Art Salon, an impression of Art Salon by Han Huang, with a combination of trees, stones and scholars, reveals one essences of our culture, namely, an integration of human and nature. In his An Upset Night in Han’s Mansion, an impression of Han Zaixi’s Night Feast by Gu Hongzhong, he changes the instrument into a rifle, which arouses astonishment from peace. He embodies futurism into the Visual Effect, inspired from Emperor in Procession, and Naturalistic Surrealism of Salvador Dail into Beauties in the Inner Palace and Maids of Honour and Coca Cola, as well as A Man. All the mentioned works above inherit the legacies easily by him in daily life. When I was studying the history of western art, I learned that there are always perceptual disintegrations in the transformation of traditional painting. Once someone, bearing the western modern art, showed a night-stool painting in art exhibition leading art to surviving in crisis, even though a bit of absurdity. The absurd things give a ray of light to the blind hearts, make people sigh for lives, and have different purposes in sense, which is a short in the mind