It has been only a space of three years from Xu Zhiguang’s first overseas solo exhibition in 2007 to this year’s grand appearance at the National Art Museum of China. The growth, change and maturity of Xu Zhiguang’s art is quite remarkable. It is both gratifying and a cause of celebration to see this artist come into his own.

　　It is a full five years since Zhiguang and I became acquainted with each other, and in this time, we have gotten to know each other well. I have viewed hundreds of his paintings varying in size from small intimate still-life to huge paintings of apple orchards and landscapes. The time we have spent together has been very pleasant and satisfying. We have learnt a lot from each other during this time. It has been a rich aesthetic experience and gave me an opportunity to understand and appreciate art in-depth.

　　I first came into contact with Chinese oil paintings in 1990. For over ten years, I was on close terms with the older generation oil painting professors from the Beijing Academy of Fine Arts. Amongst them were the venerable masters Li Tianxiang, Wen Lipeng, Zhao Youping, Yang Hongtai and Chen Junde. These teachers have taught me, by their personal bearing, by their lessons and by their painting many lessons that I carry in my heart. They have opened for me the world of Chinese oil painting. The brushwork, lines, artistic conception and the innovative spirit displayed by Chinese oil painting is often vastly different from its western cousin. There is imitation and there is creation. The Chinese oil painting I take delight in talking about is not simply an offshoot of Western oil painting imported from Europe. Rather it is a characteristically Chinese take on the medium. The first generations of Chinese oil painters tended to treat oil as a foreign medium that could be used to express Chinese subjects. Through great hardship, these early pioneers paved the way, establishing oil as a legitimate medium in Chinese art and began the long journey of the sinoification of painting.

　　The twenty-first century is seeing a change of the old guard. The progress of art is inexorable, like the waves of the Yangtze river driving the waves before it. I look upon artists like Xu Zhiguang as the new crop of rising talent. He has the three key elements shared by other successful painters – talent, diligence and destiny. His most valuable asset however is his sober awareness and deep dedication to the continued development of oil painting as a distinct Chinese tradition. The breadth and depth of Chinese culture and history is fertile ground and solid foundation for his artistic thinking.

　　Zhiguang was born in sunny Weifang, graduating from the Shandong University of Fine Arts with its relatively liberal artistic atmosphere. He then pursued his postgraduate study at the Beijing Central Academy of Fine Arts known for its strict training. Talent is a powerful spur for continued interest, and interest under the guidance of a good mentor is like a fertile field sown with seeds.

　　The time following his graduation from the Beijing Central Academy of Fine Arts was a period of intense creative energy. The fruit of this labour is ‘Harvest Scenery’, a fine milestone in the ongoing development of the Chinese oil painting identity. Despite his achievements, he is not complacent and has not slowed his pace. Far from it, his eagerness to learn and clarity of purpose keeps him moving firmly ahead.

　　The précis of art is that it is all-encompassing; Zhiguang not only loves oil painting, but he also has a deep interest in Chinese ink painting. He holds the works of Wu Changshuo, Qi Baishi, Fu Baoshi, Zhang Daqian, Li Keran and Jia Youfu in profound respect. He does not fetter himself to any particular school. Amongst the masters of oil painting, he looks to the work of Xu Beihong, Lin Fengmian, Li Tianxiang, Wen Lipeng, Zhao Youping, Ma Changli and Chen Junde. Recently, he traveled to Europe, visiting various countries and exposing himself to different schools of classical European art.

　　As a painter, perhaps the most frightening thing is to slip unknowingly into a state of self-satisfaction. Many professional artists become commercialized artists in time – art is, after all, a big business. These are the pitfalls that often spell artistic death. It is my sincerest wish and hope that this promising and scholarly artist, having taken a first major step, does not falter. I hope to see him forge ahead and continue to expand and build a Chinese tradition of oil painting, and to set an example to other young artists.

　　You can tell that he loves the minutiae of life. He loves the mountains and the rivers, just as he loves a lonely flower and the bricks that make up the home of the peasants in distant Xinjiang. He loves the common people walking on the streets as much as he loves the street itself. I think that life reciprocates, granting him inspiration in things great and small. I believe the viewer will register this for themselves.

　　August 26, 2010 written in Singapore

作者：Yu,shi