Famous Contemporary Art Critic Molong 　　Apr. 4th 2008 　　Violence series of Chen Laotie refuses impetuous, hollow, gaudy and weak elements. On the contrary, it shows people strong Chinese local culture. Its art frame which mainly is neo-handwriting has very distinct location. He moved the material of Chinese water ink to oil-painting. Element of expressionism is included in it too. 　　Chen Laotie has developed his art from traditional to contemporary water ink which is different a lot in the changing history of Chinese oil-painting. It is significant in art history. He is different with Zhou Chunya, who created green dog and peach blossom based on Ming-Qing (the last two dynasties of China) water ink. Zhou usually uses focus perspective and paints from nature, but the way he uses brush is more like traditional handwriting. Chen Laotie usually uses new water ink and new handwriting.  And he is different with Zhou chunya and Zeng fanzhi in their skill. Zhou’s is moderate, temperate, lenitive and fluency, in whose work we can see the double influence by Pollock and Huang Binhong. Zeng Fanzhi’s is more like western expressionism, in which we can see the influence by Pollock, Baconn, and Schiller. 　　Chen Laotie together with Zhou and Zeng are “three carriages” in Chinese Writing Expressionism. They all have strong spiritual appeal and individual language. In which Chen is specialize in powerful new writing language, Zeng is profound, and Zhou is elegant and gaudy. In Chinese oil-painting transform process, writing expressionism is the most profound and non-colonization. This is much different to Pop, which represented by Zhang Xianggang, Fang Lijun and Yue Minjun. They create lively individual image and social culture appeal with realistic language, namely filling the new bottle with old wine. On the contrary, writing Expressionism which represented by Chen, Zeng and Zhou fills the new bottle with new wine. They are two pieces of remarkable power of contemporary art. To me, the latter is deeper and has more potential. 　　Black blocks are used a lot in “Violence” of Chen’s, 40%, makes it more powerful and doughty. This kind of powerful structure is valuable to exist independently. He shovels transparent and vacant sharp marks as well as to destroy angle with trickling so as there are both hard and soft things on his canvas. Transparency, vacantness are derived from the same origin with water modeled stone. We can see the influence of Dong Qichang, Ba Da, Li Keran, Shi Lu, Zhang-Qian Monument, Zhang-Hei-Nv Monument and Li Beihai in his. Chinese contemporary art is becoming into air castle, to emphasize ideology and Image is Power only. Does image has power? Can it more powerful than language? Obviously, language tension has more penetrating power than image tension. Chinese contemporary art becomes shallower and shallower after Pop and Gaudy Art. Chinese traditional healthy, strong culture is neglected. It is the most valuable resource in Asia culture, the core of the power to resist western culture. 　　Chen insists on criticalness. He criticizes eating dogs and killing dogs, so as to make this series of work. The dogs are friends of human being’s but they feel no guilty when they killing dogs. This is as bloody as having steamed-bread of human under the pen of Lu Xun. Chen criticizes cruelty and effrontery of human by Chinese culture. His post-expressionism art is original, strange and different with Zhao Wuji, Zhu Dequn and Bacoon’s. 　　To review the articles about Chen is very important in the research. He developed traditional water ink to contemporary water-ink. Liu Xiaochun said his language was new. Wang Huangsheng pointed out his art was ferocious, expressed his bitterness in heart. Xu Encun pointed out that he chose bloodiness as his signal was because his loved cat was slaughtered. 　　Chen is evaluated as leading person of Chinese contemporary water ink, compared with Li Keran, Wu Guanzhong and Shi Lu. His art is not only a simple movement from paper to canvas but also has spiritual changing in it and new media appears. Chen gives malposition of 60% water ink element in oil painting so as his work becomes more original. This is obviously different with Zeng Fanzhi and Zhou Chunya. 　　He mixes mystic Chinese Black with bright Indian yellow, mitisgreen, vermeil and madder red. His curve lines are flexile and fluency. We can see many strange curves in Chen’s handwriting, which flows to his oil painting. It has difficulty on material of his water ink, but when it comes to oil painting it disappeared by complex material used. 　　We can find out that he wouldn’t breakthrough himself like that without the transform. He has made an important contribution to art history of the world by the way he mixes culture material, language, conception, expressionism and writing together. To be called “a world-class master of art who saves Chinese oil painting” is not exaggerate in the least. Master of art should be defined by academic position, position in art history, creativity and transformation ability. In this respect, Chen is no less excellent than Picasso, Pollock and Dali.