The Exile’s Return is a book I like that narrates the story of a group of American artists and writers in the beginning of the last century who return from Europe to engage in creative work. In this nation of ours, the word exile is often used in a political discourse, but in fact its meaning is multi-layered, one of its meanings being self-exile. Not long ago, I received a catalogue of Hou Zhuowu’s works, and after browsing through the pages my first impression was that he was someone who was bold enough to bear with himself, not biased nor shut-off from the world, but someone with aspirations and a rather open mind. My opinion is that, creatively, such kind of person stands above others, because for most people the so-called “creativity” merely picks up from the ancients or the western world; it is nothing more than blindly following suit. But Hou Zhuowu naturally disdains associating with such people. He prefers to avoid conflict, and in these past few years he has experienced a transformation and improvement of the self, finally revealing his talent.

　　As for the current situation and future prospects of Chinese traditional painting, I’ve continued with the same opinion I had twenty years ago. At that time I criticized Chinese traditional painting for being stagnated, for its lack in vitality. Back then, Liu Haisu, Li Heran and Huang Zhou were still alive, but by contrast, presently, there is no one who has surpassed their zenith. In an article I wrote I said that the artists in Chinese traditional painting circles had become a bunch of itinerant entertainers. I met all kinds of so-called masters, and just like the cliques of Mt. Huashan, Kunlun or Shaolin in martial arts novels, they held their placard very high, but as soon as they put their hands on something they immediately spilled the beans. Virtually, the current cultural environment is extremely bleak. The bustle on the surface is like a fit of gust that starts and ends suddenly without contributing anything. But I disapprove of historical determinism. I don’t identify with the idea that the individual is merely a spare part of the whole. Without doubt an artist is inseparable from the real existing preconditions, but one can also say that any accomplished artist is not a result of history itself, because he is a living individual, an individual that possesses creativity and who can surpass any sort of obstacle.

　　Thus, on the one hand I maintain my old view, and at the same time I continuously look for examples that show me the contrary, like breakthroughs over the inevitable limitations. Discussing Hou Zhuowu’s works on the phone with the art critic Peng De, we agreed that his art has qualities out of the ordinary, bringing forth a breath of fresh air. However, these kind of fresh ideas are reflected more in the content, which is to say that the form, language and expression of his paintings are still unable to break free from the natural “shell” of Chinese traditional painting. Hou Zhuowu’s depictions give people a magnanimous, awe inspiring feeling which transmits his interest in religion, politics, history and other related matter. Most importantly, when he mixes all these things together he does not appear lofty or pretentious. This undoubtedly is a new experience for him, and for an explorer, any new experience is a possibility to climb to an ideal plane. What I mean to say is that the trial that Hou Zhuowu faces does not lie in his ideas or expression. For any artist, it is not about what one wants to paint, but about what one can paint.

　　What an artist is able to paint foretells his/her final accomplishments, a fact irrefutable according to my experience. I roughly understand Hou Zhuowu’s goals and aspirations after reading an excerpt of his writings. The ancients said “Aim high or you may fall below the average”; it is a very clear message. Hou Zhuowu writes: “The first thing our generation was able to have was wolf’s milk, so in anything we learn we unconsciously are easily taken into destructiveness and subversiveness, as if the virus we injected ourselves with was frequently breaking out.” This kind of confession implies a troubled nature, being at the same time a kind of self-mockery in an attempt of liberating the self. Just like he says: “I revere and intentionally avoid at the same time those traditions that in the past easily transfixed people. There is a kind of paradoxical condemnation in this.” There are some people with high intellect and aspirations who frequently like to set themselves with paradoxes, and at the time they satisfy their delight of the intellectual game, they see the result as an added value or a by-product. Essentially they hope for a bumper harvest, wanting to obtain both the things on this shore and the other shore. I believe that I can discriminate between what intelligent people are thinking because I am intelligent too.

　　People are used to the concept of being in a circle or outside a circle, and Hou Zhuowu naturally does not belong inside any circle. In all these years, he has not merged with any so-called circles, so can one say that this is due to his dignity or to his independence? Or maybe both? I have some close friends who similarly do not like circles, and don’t want to fall into that kind of system of evaluation, though they still wish to be acknowledged. It is just that their standards are high and they treasure their own feathers, keeping vigilant and despising cheap praise or false solicitude. My opinion is that Hou Zhuowu’s works already make clear to all this kind of possibility. His highly expressive unusual pictures, and his boldness in adding new content to traditional painting are able to touch people. But as a matter of fact, each generation is made of all kinds of people. There’s the common herd and the elite, petty people and noblemen. Hou Zhuowu’s creations continue, his ideas continue, his habits continue, and all this is part of his rich individuality. Reality is the same; it is impossible for it to be made out of a block of iron.

　　1st of September, 2012

作者：Li,Xiaoshan