TO PAINT IS SIMILAR TO ARELIGIOUSEXPERIENCE: ONEADHISTHANA AFTER ANOTHER, UNTIL WE ACHIEVENIRVANA.DURING THIS PROCESS, WEARE NOT DISTURBED BY ANYTHINGSECULAR, NOR CAN WEBE CALCULATIVE. LET'S GET AS CLOSE TOHEAVEN AS POSSIBLE, ASCLOSE TO THE DIVINEAS POSSIBLE, ASCLOSE TO OUR NEWBORN SELF AS POSSIBLE. LET'S GATHER ALLOURENERGY TO FOCUS ONART.

- BY TONG ZHENGANG

TONG ZHENGANG

I have known Tong Zhengang for only ashort time, some two years, yet early on our relationship was that of “oldfriends”. Of course this is because Tong Zhengang's amiable personality. Unlikethose artists whom I know who like to show little emotion, he is not only acasual character but also very generous. He likes to make friends with allkinds of people and to satisfy the wishes of his friends, trying to please themas far as possible. 

So his studio is always filled with friends and constantlaughter and joyful conversation. His friends not only like his character, butalso like his painting and the varied atmosphere that he creates for them. Itis not strange that when his friends gather in his studio, no matter whetherthey are anxious or look upset, all these feelings will soon be cast aside andbanished with a large bottle of beer. Perhaps for this reason I often visitTong Zhengang's studio, sometimes not to appreciate his art, but just to have adrink there. From these frequent visits, we have become “old friends”, arelationship seemingly brewed by old wine.

I have often thought that Tong Zhengang's success in art is perhaps closelyrelated to his attitude to people. Some people say that character determinesone's fate. This is quite true. For example, in the creation of art, those whoare mean are often find unable to create a masterpiece, whereas even a smallsimple art work will embody an extraordinary momentum for those who aregenerous. 

Returning to Tong Zhengang, aside from having a great many friendsand an easier path to walk in life as a result of his being happy in doinggood, such friendships from different fields enrich his art and enhance hisknowledge and accomplishments. Therefore, his art is not dream-like or etherealand although it does not document real life or consist of realistic paintings,there is certain exciting temperament and interest permeating his work from hisliving experience.

Indeed, the innermost being of Tong Zhengang is the same as Jin Nong, as he also encompasses the vast world ofrivers and lakes. However, Tong Zhengang, a man of the Central Plains who wasborn in today's Western Regions, is slightly different from Jin Nong, anancient master of the Jiangnan region in the south. 

When Tong Zhengang returnsfrom the sandy Western Regions to the Central Plains crisscrossed with rivers,what he is conscious of surpasses the rivers and lakes, in seeking the root ofculture that carries wonderful fantasies and hope about his home. Rather thanthe ripples of bluish green waves of rivers and lakes becoming his boundlessterritory to ride through without restraint, they water his dusty memory andbecame a road he must travel as his cultural homeland. 

In the same way, TongZhengang is very fond of drawing beautiful ladies and envisioning them in theirboudoirs and gardens. This does not mean that Tong Zhengang prefers beautifulladies to landscape, but the cultural motif of tenderness embodied by beautifulladies makes up for the worries of a man traveling far from home.

As early as two thousand years ago, wefind in Confucius, the Chinese sage, the aesthetic thought of “traveling inart”. Speaking from a certain perspective, in the more recent stage of his art,Tong Zhengang has been recalling such ancient traditional aesthetics. Not onlyhas he blended this tradition into his artistic creation, but also transformedit into his own character and gradually enlarged his outlook. Although he hasmoved far away from the realm of traditional culture, through encounteringheart-stirring things in life constantly, Tong Zhengang has rebuilt a psychologicalbridge spanning tradition and present society.

Thisthen is the ease that Tong Zhengang acquires from his art and life. With hiscomposed spirit and creations of rich varieties, Tong Zhengang hasaffectionately demonstrated an artistic style of contemporary “traveling in theworld”. 

Like those images by Tong Zhengang of beautiful ladies who always hidein their boudoir, what he has revealed is not carnal desire, but only deeplove. Different from the style of “playing in the world” which was in vogue inrecent years in the art field, to regard “travel” as of value is to get beyondthe psychological morbidity of playing with others, playing with oneself andplaying with society. Moreover, it is an aesthetic sublimation towards the complexityof the real environment……

- By Yang Wei

……Around 1996,I studied abroad inAmerica,whereas he traveled to France and European countries, thus we lost contact. Wemet in Beijingagain until 2001, when he upheld the Art Space of Red Square Club to provide astage for those young avant-garde artists to show their artistic talents. 

Atthat time he has already stayed in Europe for six years, after doing seriousresearch on the modern art of Matisse, Dali, Picasso and others, he obviouslyhas been full of international experiences, broadened his horizons, and has hadbrand-new and clear knowledge to the increasingly internationalization of reallife and the understanding of contemporary art and his own artisticdevelopment. 

He said: “My biggest visual shock in overseas was that theirpractical art was very powerful. It has already reached the stage that pureartists don’t know how to deal with. Noble and graceful pure art in TwentiethCentury, especially after the Second World War, was confronted with hugechallenges. 

In the 1960s, artists of English and American Pop arts believedthat if painting could not response to an era which filled with designs, thenpainting could never reach a new stage.” Such thinking was obviously full offoresight in the rapidly developing Chinese society and the Chinese art fieldwhich is re-seeking the cultural coordinates. He attempted to continuallydevelop his art in a higher level. The journey to Europewas an acceleration of his transformation from modern ink painter tocontemporary artist.

At that time,which is in early new century, a big transformation has occurred in Chinese artcircle and its social environment. Contemporary art was gradually accepted bythe art system of China’scommunity and government. The mass media has also paid more attention to thedevelopment of contemporary art. 

Moreover,Chinabecame more involved in theinternational society and changed in terms of industrialization, urbanizationand information technology. Contemporary art became new art which is reflectionof new development of the society and real life, and thus gained identificationfrom the community. 

Then, came new media art, behavior art, images and network art,art system, exhibition curator, experimental art, biennale and others becamethe key words for describing Chinese artistic ecology. Young and up-to-dateartists were unceasingly emerging out. 

Tong Zhengang realized thattransformation, he no longer hoped to be a new ink artist in its originalsense, but to develop in the direction of experimental and contemporary art. Asa mature artist who had deep experiences on life and art, Tong Zhengangrecognized that the key of contemporary art is not necessary to make use of newmedia and astonished behavior art, but the crucial thing is close attentiontowards present life that shown in the art and the fresh visual languages thatappeared in it. Perhaps, the material was not new but traditional. This oftenappeared in the practice of international contemporary art.

This new series of art exploration is called “Backstage”, it isapparently because when the artist came into contact with the splendid materiallife in today’s consumer’s society, he found that behind there are many mentalproblems. After the economic development, many people have lost their idealmoral integrity and spiritual pursuit, and the whole nation’s culturalidentification is changing too. 

However, many people also seem to lose theirdirections, flamboyance and extravagance which were brought by the high speedeconomical development, and are unable to conceal people’s innermost feelingsof loss and desolateness after the fall of humanism.

Of  courseartists are not sociologists. He is only using his insight and art languages toconvey his own concern towards social transformation. However, it is not theproblem in this group of women themselves that he drew; it is the crisis of thesocial reality that they embodied. 

Therefore on this point, Tong Zhengang’sattitude is to transit from Retrospective Romanticism to Realism, using his artto follow and care for the moment has become his conscious, no matter thelanguage is still ink, which filled with new forms and elements withcomposition. 

At that time, although many of his contemporary ink painters stillstick to the position of pure ink, he has already walked out from that. Inkpainting and the training of traditional beauty judging has become thedisposition that stored deeply in his mind, sublimated to a culturalaccumulation that stayed in his blood. To him, ink is a bridge leading to abroader art world, but not restricted chains. 

(Of course, I also respect thoseartists who are still focusing on pure ink art, even traditional artists,because in this way, art will have a multiplicity and fine ecology.) He hastried all types of block print art inFrance. Also he created a largenumber of modern porcelain art, at the same time, his started to use canvas andacrylic pigments for painting too, even he is brewing large-scale artinstallation and others.

Ink is notoriginal ink; women are not those original women. Also, the world is not theformer world; Tong Zhengang’s art is not his original kind of art. His art isunfolding his own significance among constantly innovation……

- By Zhang Chaohui

Resume

TONGZHENGANG

 Tong Zhengang was born in 1959 in Karamay,Xinjiang. His parents were from Jilin Province. He worked on oilrigs as adriller, and has been an automation technician, calligraphy teacher, and artinstructor. He studied studio art at Beijing’s PLA Art Institute and CentralAcademy for Fine Arts. He is currently an independent artist based in Beijing.He has also studied from such renowned calligraphers as Xiao Xian and LiSanzhi, and is equally at home with calligraphy, seal inscription, inkpainting, and a variety of genres in contemporary art. Tong Zhengang has had numeroussignificant shows at prestigious venues, such as China’s National Art Museum,Kyoto Art Museum, and Hong Kong Center of Art. He has worked with a variety ofmedia, from ink painting, woodblock print, lithography, oil painting,sculpture, to installation. His serial works include: “The Kingdom on Paper,”“The Happiness Index,” “Chatting Away,” “Incorporation,” “In-equilibrium,”“Lady Bodhisattva,” “The Heart Sutra.”

SELECTEDSOLO EXHIBITIONS

2017 “West of Northwest Tong Zhangang InkPainting Exhibition” Begonia Art Museum, Nanjing

2015 “Se·Colour PastelDrawing Tong Zhengang Solo Exhibition” , Zoomart Gallery, Beijing

     “MatearialAppearance is Emptiness : Pastel Drawing Tong Zhengang Solo Exhibition”, HongzilanCenter for Art, Beijing

2014 “Entertaining Myself,” BeijingGallery, Beijing

     “TheHeart Of Matter : Exhibition Tour of Tong Zhengang” , Long Museum West Bund ,Shanghai

“The Heart Of Matter : Exhibition Tour ofTong Zhengang” , Today Art Museum , Beijing

“The Banquet : Tong Zhengang SoloExhibition” , Poly Art Museum , Beijing

“Condition: Tong Zhengang Solo Exhibition”,LiuChen Gallery of Art & Crafts / Enjoyment Art, Nanjing

2013 “Whom Do Our Ancestors Emulate?” YapinGallery, Hong Kong

“Spring Happiness,” The Summer Palace Gallery, Beijing

“Quietude and Reservation,” Hongzilan Center for Art, Beijing

“Morning Flowers Scattered at Evening,” Triumph Gallery, Beijing

2012 “The Kingdom on Paper,” HongzilanCenter for Art, Beijing

2011 “Happiness Index,” Ode to Art Gallery,Singapore

“Entertaining Myself,” UATown Gallery,Beijing

2010 “Quietude and Reservation,” YangGallery, Beijing

“Imagining Happiness,” Hongzilan Center for Art, Beijing

2009 “The Natural Beauty: Tong Zhengang’sInk Paintings,” Yang Gallery, Singapore

2008 “Happiness Index,” Ying Center of Art,Beijing

2007 “Happiness Index,” Yang Gallery,Singapore

2006 “Happiness,” Ren Center of Art,Beijing

2005 “My Sky,” Yijingxuan Gallery, Beijing

“Rhythms: Tong Zhengang Calligraphy,” International Art Museum, HongKong

2004 “In Expectation: Tong Zhengang’s RoundFan Art,” International Art Museum, Hong Kong

“Backstage,” International Art Museum, Hong Kong

2003 “The Red World,” the US Embassy,Beijing

2002 “Post-Impressionism,” The Red SquareGallery, Beijing

“Free of Illness: Tong Zhengang’s Ink Paintings,” Barcelona, Spain

2001 “The Heavenly Voice: Tong Zhengang’sLithography and Calligraphy,” Paris Museum of Lithography, France

1999 “Tong Zhengang’s Lithography,” ParisSAGA Art Salon, France

1998 “The Green House: Tong Zhengang’s InkPaintings,” Stuttgart, Germany

“98 – Tong Zhengang Solo Exhibition”, theUS Embassy, Beijing

“Tong Zhengang Art Exhibition”, Qinhao ArtGallery, Beijing

1996 “The Green House,” The Red CarpetGallery, Beijing

1995 “Looking from the Bottom of Flowers:Tong Zhengang’s Portraits,” The National Art Museum, Beijing

1994 “The Green House,” Yokohama ChineseArt Gallery, Japan

“Tong Zhengang Calligraphy,” Kyoto Gallery, Japan

1993 “The New Culture,” New Era Gallery,Hong Kong

SELECTEDGROUP EXHIBITIONS

2018 “Sharing Art”, Jinbao Place, Beijing

2017 “Brotherhood·Manhood ContemporaryArt Exhibition”, Songyafeng Art Center, Beijing

    “Hang in Doubt: The 14th Sao Yi Sao Contemporart ArtExhibition Cheng Du”, Sichuan University Art Museum, Chengdu

2016 “All-phase the Tathagata” Buddhism ArtInvitation Exhibition, Go Trues Art Museum, Beijing

 “Art Remix” Magnum CrossoverExhibition, M&T Art,The Red Chamber, Beijing

     “Minus”Mountain&Sea Art Museum Collection Exhibition, Mountain&Sea Art Museum,Beijing

     “CloudyDownhill” China Shuimokou International Art Invitation Exhibition, ShuimokouVillage, Shanxi

     “Now” Contemporary Painting Exhibition, Art100 Beijing Gallery, Beijing

     “NewHeight” Contemporary Art Exhibition, JiaJian Art Museum, Shandong

     “NewHeight” Contemporary Art New Year’s Eve Exhibition, Riverside Art Museum,Beijing

2015 “Brotherhood·Manhood”Contemporary Art Exhibition , Zoomart Gallery , Beijing

2014 “Silk Roads: The 1st ChinaXinjiang International Arts Biennale”, Xinjiang International Convention &Exhibition Center, Urumchi

2013 “The Green Box: Contemporary ChineseArt,” Croatia, Bosnia and Herzegovina

“Heart and Things,” Shanghai Pudong Exhibition Hall, Haikou GulanLake, Yue Museum, Beijing

“Fashion and Art,” The Summer Palace Gallery, Beijing

“The First Great Wall Contemporary Art Biennale,” Beijing

“Brush and Ink of the East: Chinese Calligraphy Exhibition,” Chengdu

2012 “Obsessed with Characters: Art andChinese Characters,” F518 Creation Space Exhibition Center, Shenzhen

“Multiple Developments,” The National Academy of Art, Beijing

“The New Noah’s Ark,” Artlinkart, Beijing

“Ink China” Confucius Institute World Tour

“The Masses, Quietude and Reservation: Xu Weixin and Tong Zhengang,”Dr. Sun Yat-sen Museum of Art, Dalian, China-Italy Biennale, Milan Museum ofArt, Milan, Italy

“Envisioning China: Ink Art from China,” Royal Scottish Museum,Edinburg, UK

“Seriousness and Playfulness: Contemporary Art Exhibition,” MeilunMuseum, Changsha, Hunan

“The Group Passage: Contemporary Ink vs. Traditional Ink,”Contemporary Musuem of Beijing, Beijing

2011 “United We Stand,” Guzhou

“Heritage and the Future: Chinese Ink Painting of the 21st Century,”Jinbaohui Gallery, Beijing

2010 “Heritage and the Future: Chinese InkPainting of the 21st Century,” Miami Museum of Art, USA

“Century Autumn,” Yantai Academy of Art, Shandong, CaochangdiBiennale, Beijing

“Beijing Time,” Jinbaohui Gallery, Beijing

“The Ripples: China’s Imagism,” Jinbaohui Gallery, Beijing

“The Random Art Festival,” Shanghang Museum, Beijing

“The Footprints,” Beijing Epoch Museum, Beijing

“Chinese Landscape Paintings,” The Light of the East Art Center,Beijing

2009 “Fusion: Contemporary Art Exhibition,”Qinghe Contemporary Art Gallery, Nanjing

“I Believe,” Stars Museum, Beijing

“China Memories: China and Spain Art Exchanges,” Tense Gallery,Beijing

“Contemporary Chinese Oil Painting Exhibition in Celebration of the60th Anniversary of the Founding of the People’s Republic of China,” Hong Kong

“Low Key: Eleven Artists,” 800 Art Zone, Shanghai

“The Art of Flow,” Fantasy Atrium, Beijing

“The Circle Starts with China,” Fashion Elements Art Gallery,Beijing

“Light from the East: China-Korea Exchanges,” Ren Center of Art,Beijing

2008 “Individual Colors,” Singapore, HongKong

“20 Artists,” China National Museum of Art, Central Academy for FineArts

2007 “Love for the Kingdom,” XianshengGallery, Beijing

2006 “Falling out of Love,” Ren Center ofArt, Beijing

2005 “Century Chinese CharactersInstallation Exhibition,” Century China, Beijing

2004 “The Fourth Shenzhen International InkPainting Biennale,” Shenzhen

“Lively Colors,” Xirui Art Center, Beijing

2003 “Expressions and Conditions,” Beijing,Shanghai, Hong Kong

2002 “Contemporary Ink Portraits,” The RedSquare Art Center, Beijing

“Contemporary Chinese Art,” The Red Square Art Center, Beijing

2001 “Contemporary Lithography,” Paris SagaArt Salon, France

2000 “Tension and Representation: InkPaintings,” International Art Garden Museum, Beijing

1999 “Lithography,” Paris Saga Art Salon,France

1998 “Tension and Representation: InkPaintings,” International Art Garden Museum, Beijing

1997 “Ink Paintings from China,” BelobeloGallery, Portugal

1996 “Modern Art Exhibition,” Porto CityHall, Portugal

“The State of the Art of Contemporary Chinese Ink Painting,” ChinaNational Museum of Art, Beijing

“Outstanding Young Artists from China,” Modern Art Museum, Hong Kong

1994 “Chinese Ink Painting,” Stuttgart CityHall, Germany

“Beijing Young Artists Ink Paintings,” Contemporary Museum of Art,Beijing

“Beijing Renowned Artists Invitational,” Contemporary Museum of Art,Beijing

1993 “Autumn Salon Show,” International ArtGarden Museum, Beijing

1992 “Chinese Ink Paintings of the 1990s,”China National Museum of Art, Beijing

MAJORCOLLECTIONS

China National Art Museum, Today Museum, New York Metropolitan Museum of Art, LondonCity Hall, UBS,UNESCO, US Embassy in Beijing, Brazil Embassy in Beijing, FrenchEmbassy in Beijing, Amsterdam Museum of Modern Art, IBE, LG, IBM, andindividuals in the US, Switzerland, Japan, France, Portugal, Italy, Germany,Spain, Taiwan, India, Hong Kong, and Singapore.