The art world expects much of China, and when a Chinese artist of talent appears, he is greeted with acclaim. A sampling of the work of one such artist. Fang Lijun, is showing at the Japan Foundation Forum in the exhibition “Fang Lijun: Human Images in an Uncertain Age.”

　　Fang belongs to a new generation of artists referred to as the Cynical Realists, who are part of thePost’89 New Wave Art of China, Chinese critic Li Xianting puts Fang into the third generation of post-Cultural Revolution artists. This generation grew up in the Cultural Revolution in the 1960s, and graduated from art school in the 1980s as China was opening spectacularly to the West

　　Li says these artists use realism to comment on aspects of Chinese life that were “familiar, depressing, adventitious and absurd.” Fang agrees with this feeling of cynicism, and uses it as a way of coping with the overbearing politics of Chinese life, in which being “two-faced” is the only way to survive. “We would rather be described as painters of loss, ennui... or as rogues,” he says.

　　Such an interpretation gives Fang’s figurative paintings greater edge. Introspective and sad to some extent, they are also genuinely playful works that express the freedom and color of a country that has recently emerged from a painful, gray period.

　　First and foremost, Fang is a superb draftsman. This reflects the emphasis on realism in art schools in China. Almost all of the works in this show contain one or more skillfully drawn shaven-headed figures who strongly resemble the artist.

　　In earlier drawings, such as Pencil Drawing No.3 (1988), these figures have a passivity that recalls life in a repressive regime The female Figures in No.5 and No.2 are the few embodiments of warmth. In series 2 (1991-92),the male figures become less passive, some smile in groups, some laugh or gaze skyward, while others grimace in yawns (or maybe screams).

　　In his 1993 series, the paintings change from predominant monochrome to vivid reds, pinks and oranges reminiscent of the colors in Chinese political and folk posters of bumper crops and victorious peasants. Whether truly cynical or not, paintings such as these vonvey terrific happiness. 1993 No.6 shows five figures hugging, laughing or smiling.

　　The most introspective and powerful paintings are of the artist floating under or on water. Some of these are in monochrome, some in fantastic blues. The artist either appears to be in deep pain or concentration, as in 1993 No.8 and No.12, or floating corpse-like, as in No.11 and No.13.

　　It is interesting that realists such as Fang should be perceived as cynical, and, certainly, some of the painters are disquieting. It is also interesting that these painters resist the trend toward abstraction elsewhere in the world. In what direction Fang will go, however, is difficult to predict.

　　The exhibit continues at the Japan Foundation Forum untilDec.1. General admission is ￥600. Call(03) 5562-3892. The Forum is on the first floor of Akasaka Twin Tower at 2-17-22 Akasaka, Minato Ward, Tokyo.

作者：Ralph,Klggell