The first time I came across the work of Xu Zhiguang was in 2003 at the research students’ graduation exhibition at the Central Academy of Fine Arts. I remember he approached me modestly to ask for advice. It was a very large oil painting focused on presenting an apple tree, elegantly executed with a steady eye for colour. I was impressed that he had taken on a difficult subject – something as mundane as an apple tree could easily be lost to the audience. The more I looked at it, the more it left me with a deep impression.

　　Sometime later, I saw his oil paintings of apple trees on display at the ‘Second Landscape Oil Painting Exhibition’ and the ‘Chinese Contemporary Realism Oil Painting Research Exhibition’, both organized by the Chinese Oil Painting Society. Apple trees are definitely not a passing fancy for this artist. The apple trees he presents are tall and thick of trunk, an arbour that shelters plenteous plump fruits. They are vibrant scenes filled with the force of life; the colours transforming with the changing seasons. Here is someone with an immutable bond with apple trees.

　　Xu is invariably asked ‘why the interest in painting apple trees?’ To this he replies ‘The wild apple trees of remote Yili in Xinjiang have left a deep impression on me. In the wild, some of these apple trees have grown for hundreds of years, rising straight and resolute against the backdrop of distant snow clad mountains. They have experienced the fury of nature and through the long cycles of the seasons have weathered the wind, rain and snow. Despite the harshness of their environment, they have thrived and exuded vitality.’ Xu was moved by these resolute spirits of nature and he has sought to translate that feeling through his paint brush. Through his wonderful technique of drawing and painting and deft use of landscape to heighten the emotional impact of the scene, he creates a bond with the viewer.

　　Over the past two years, I have observed how Xu Zhiguang has continued to take his painting of apple trees in new directions. Influenced by the flower and bird painting techniques of Chinese ink painting, he has been exploring how a complex subject can be described through simplicity of detail. Less describes more – that paradox of human imagination and painting – has been the hallmark of his approach. His paintings have a sharper sense of refinement and elegance. His brushstrokes have become more confident and consequently less rigid. Free and easy brushstrokes belie a mastery of control.

　　Over time, Xu Zhiguang has also consciously expanded his repertoire of subjects. He has painted different locales and landscapes, trekking through distant rural landscapes in different seasons to experience regional lifestyles. Personally, I think this is absolutely critical in expanding one’s horizon and life experience and he will only grow stronger as an artist. He has been able to capture the distinctiveness of the different places he has visited. His paintings of southern Wuyuan luxuriate in the serene emerald forests and water rich landscapes. This is in sharp contrast to his paintings of Kashgar in Xinjiang where bright sunlight and strong colours are the main themes.

　　‘I hope that my paintings look like oil paintings that were created by a Chinese artist. I have been greatly influenced by the techniques of Chinese ink painting and I have incorporated both the techniques and philosophy in my art…’ Oil painting is a European painting tradition and while Xu has absorbed the fundamentals of oil painting techniques, he has keenly followed the mission of the early Chinese oil painters to find a way to merge Chinese cultural and artistic traditions with oil painting. This is the lofty goal of contemporary Chinese oil painting. I fully expect Xu’s study and search in this area to bear fruit.

　　Many young contemporary artists are seeking to find their own unique style, constantly perfecting and deepening their techniques. Empirical experience shows that aside from professional skills in painting and drawing, the accomplished artist needs to have considerable cultural refinement as well as rich life experience. The artist is invariably reflected in his works. Xu Zhiguang has the self-knowledge to realize that without the first step, a journey of a thousand miles will never be realized. Following his graduation from the Shandong Institute of Fine Arts, he was dissatisfied with the status quo and got himself admitted to the post-graduate course of the Beijing Central Academy of Fine Arts to further challenge his understanding of art. After graduating from the Central Academy of Fine Arts, he taught in the Academy’s Urban Design School. Recently, he joined the art research group at the Chinese Academy of Oil Painting. I have taught and seen many young artists, and I truly appreciate the ones who have the humility to challenge their own level of skill and knowledge, to strive to get past what has been achieved and to look to what is possible. I admire Xu’s steadfastness, his dedication to learning and enriching himself. I wish him all the best as he attempts to scale his next peak.

作者：Ma,Changli