朱宣咸(1927年浙江——2002年重庆),中国画画家、木刻版画家、漫画家与美术活动家。20世纪40年代初起从事中国画与中国新兴木刻版画,半个多世纪来,创作了大量中国画、版画、漫画、插画、水粉画、水彩画、连环画等作品,并被中国美术馆及各地美术馆、博物馆等收藏;被《中国年鉴》,《中国百年版画》等大型文献收录;从1946年到2002年多次入选国内外一系列重要展览,发表作品数千次,艺术风格被《人民日报》等主要媒体专题评论;出版有《朱宣咸作品选》,《朱宣咸花鸟画选辑》,《朱宣咸木刻版画集》,《朱宣咸风景木刻版画选辑》,《朱宣咸漫画》,《艺术常青——美术家朱宣咸》等;由文化、新闻、出版等六单位联合主办了“朱宣咸从艺五十五年画展”;生平被载入《中国美术辞典》等国家级辞书

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Selected Art Works by Zhu Cheng(朱澄)

 

The two Cultural and ideological collisions

with and merge into each other in classic

Traditional & ContemporaryEastern & Western.


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Fossilization In The Art Salon

(Hangscroll,  Chinese ink & color on silk,  

111cm×55cm,  Dated 1988,  By ZHU Cheng)

An impression of The Art Salon by HAN Huang (723-787).

The original depicted the scene in which several liteaati sat at the Relaxetion Stones to spend their lesier time by composing poems while engaginging in phrase-mongering.Repeated examination of the original does not give me a very clear idea whether the characters in it were human beings or stones and thus the inspiration of producing the present painting.

Dose it image the felling against the pedanlic attitude and the conservative idea? Does it express the philosophic theory in the traditional Chinese culture that human beings may mentally merge with nature? Or…?

Seals: At the age of 20, Zhu, Zhu Cheng's seal, Nothing to say, The gist is to be caught,  Yes? or No?, Huang Pin Shang Ren (People from Huang Yan, A geographical name of Zhejiang Province), Zhu Cheng's Somniloquy, A seeming acquaintance.

 

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An Upest Night In Han’s Mansion

——It’s time Han’s night banquet ended!

(Hangscroll,  Chinese ink & color on silk,  125cm×55cm,  

Dated 1988,  By ZHU Cheng)

A burlesque to substitute for the part Listening to the Pipa Performance of HAN Xizai’s Night Feast by GU Hongzhong(913-?).

HAN Xizai’s Night Feast depicted the extravagant life of HAN Xizai and other high ranking officials and nobilemen wallowing in sensual pleasures,In that part of the painting, SITTING on a round stool was a very meek girl giving a pipa performance. HAN Xizai and his guests spending their time in feasting were entranced with the wonderful music. But now I change the pipa into a tommy-gun…

Seals: Zhu Cheng's seal, A seeming acquaintance, Yes? or No?, To be understood spiritually.


 

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Copy the HAN Xizai’s Night Feast

(Hangscroll,  Chinese ink & color on paper,  123cm×52cm,  

Dated 1988,  By ZHU Cheng)

Seals: To be understood spiritually, Yes? or No?, Nothing to say, The gist is to be caught, Zhu, Cheng, A seeming acquaintance, Zhe Ren, Xuanxian, Huangyan's Zhu.


 

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A Solemn And Stirring Melody

(Hangscroll,  Chinese ink & color on silk,  81cm×55cm,  

Dated 1988,  By ZHU Cheng) 

A burlesque to substitute for the part Musical Performance of HAN Xizai’s Night Feast by GU Hongzhong(913-?).

In the reproduction,the musical instryments in their hands were changed into pistols and thus its title.

Seals: At the age of 20, Nothing to say, Zhu Cheng's seal, To be understood spiritually.

 

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The Three People

(Hangscroll,  Chinese ink & color on paper,  111cm×55cm,  

Dated 1988,  By ZHU Cheng) 

An impression of The Three Friends by REN Yi (1840-1896).

The original is the portraits of the artist himself and the two friends of his sitting side by side. There is an inscription on the painting, which reads "we three sit side by side, each is characterized by his own manly appearance...". However, Facing this painting, I can’t hold back the feelings welling up in my mind: general imanges of Confucianists since time immemorial come spontaneously and l find it difficult to water them down.

They make me form the opinion that it has been a common practice in the Chinese traditional culture—and still influencing at the present time —to tend to emphasize generalily while suppressing individuality. The consequence is that all men are alike bodily and mentally. Thus, there is virtuelly no way to charactarize anyone by "manly appearance".Can the case of the artist and his two friends be an exception?

Seals: At the age of 20, Nothing to say, Zhu Cheng's seal, The gist is to be caught, Yes? or No?, To be understood spiritually.


 

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Linear Art

(Framed,  Chinese ink & knitting on paper,  125cm×60cm,  

Dated 1988,  By ZHU Cheng)

The latest reproduction of the part The Birth of Sakyamuni of A Legendary Figures painting by WU Daozi(685-758).

Wu Daozi was the originator of line drawing and the representative of artists working in that field. On the other hand, the traditional Chinese art of painting is, to a rather great extent ,a linear art, which has become the essence of Chinese painting.

A certain length of black knitting yarn is stuck in a twisting way on my enlarged reproduction of The Birth of Sakyamuni to complete this serious imitation.

Seals: At the age of 20, Nothing to say, Zhu Cheng's seal, Yes? or No?, To be understood spiritually.


 

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Maids Of Honour And Coca Cola

(Hangscroll,  Chinese ink & color on silk,  85cm×55cm,  

Dated 1988,  By ZHU Cheng)

A burlesque to substitute for Palace Beauties by TANG Yin(1470-1523).

Looking at these fashionable beauties in the original, I couldn’t stop thinking that the dollies were no more than the thirst-satisfying Coca Cola.(Note:There were maids of honour to attend emperors in Chinese history).

Seals: Zhu, Cheng, The gist is to be caught, A seeming acquaintance.


 

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Playing Chess At The Painted Screen

(Hangscroll,  Chinese ink & color on paper,  90cm×65cm,  

Dated 1988,  By ZHU Cheng)

After playing Chess by ZHOU Wenju(925-?).

The original shows some people playing chess at apainted screen.on which there is a landscape painting.

In my painting,in a "tricky" way,the landscape painting is replaced with anther one which is exaclly the same painting of reduced size. Going on in this wan, a serise of identical pictures, one smaller in size than another are seen.lf you imagine yourself coming out from the innermost one until stepping itslf, you might have aesthetic effect that the painting links to reality in some sense.

Seals: Zhu, Cheng, Nothing to say, Zhu Cheng's seal, The gist is to be caught.


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Emperors Of The Past Dynasties

(Hangscroll,  Chinese ink & color on paper,  100×55cm,

Dated 1988,  By ZHU Cheng) 

A burlesque to substitute for A Series of Portraits of Emperors of the Past Dynasties by YAN Liben (?-673).

The original portayed 13 emperors the past dynasties from Emperor ZHAO of Han Dynasty down to Emperor YANG of Sui Dynasty. l make the bold tosummarize them in one as all emperors were alike in character.

Seals: At the age of 20, Zhu, Zhu Cheng's seal, Yes? or No?, To be understood spiritually.


 

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But This Is Not Fire

(Hangscroll,  Chinese ink & color on paper,  67cm×40cm,

Dated 1987,  By ZHU Cheng)

Inspired from Peony by an unknown artist in Song Dynasty.

In the original,the red peony blossoms so exuberantly,so intensely,that I think it is a fire. Is it a fire? Or is it a flower? It is very difficult to say. And this is my impression.

Seals: Zhu, Cheng, Zhu Cheng.


 

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But This Is Not Flower

(Hangscroll,  Chinese ink & color on paper,  67cm×40cm,  

Dated 1987,  By ZHU Cheng) 

Inspired from A Bathing Lotus by an unknown artist in song Dynasty.

In the original,the lotus is so tender, so transparant, that I think it is a lamp.Isit a lamp? Or is it a flower? it is very diffcult to say. And this is my impression.

Seals: Zhu, Cheng, Zhu Cheng.


 

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Mountains Remain As They Were

(Hangscroll,  Chinese ink & color on silk,  122cm×30cm,

Dated 1987,  By ZHU Cheng)

An impression of the part The Arch Bridge Of The Qingming Festival on the River by ZHAN Zeduan (1075-?).

The Qingming Festival on the River depicted in detail the flourishing panorama in the capital of Song Dynasty during its prime,The Arch Bridge is the most stressed and representative part, in which shops and stores appear in great numbers, large crowds of people bustle about, trains of carts, and camels carrying goods pass through the streets and boats are seen here and there.

Now when I look at the painting what appears before my eyes is quite another scene: Because of the vicissitudes experienced, all these are gone, leaving only a peaceful and quiet world—the arch bridge as it was, the withered trees sprouting young twigs, the endless stream in the river, along with a tinge of sadness and melancholy…

Oh, everything ends in nothing for sure, /Be it right or wrong, success or failure. //Mountains remain as they were, /But how many sunrises and sunsets. /have they seen ever?

Seals: At the age of 20, Zhu Cheng, The gist is to be caught, A seeming acquaintance.

 

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Copy the Qingming Festival on the River

(Hangscroll,  Chinese ink & color on paper,  700cm×35cm,

Dated 1985,  By ZHU Cheng)

Seals: Huang Pin Shang (Huang Yan, A geographical name of Zhejiang Province), Zhu, Cheng, Collection by Zhu Cheng, Zhu Cheng, At the age of 20.


 

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Touring Spring

(Hangscroll,  Chinese ink & color on silk,  125cm×50cm,

Dated 1987,  By ZHU Cheng)

After Lady Guoguo on Tour of Spring by ZHANG Xuan(682-?).

To my idea,Lady Guoguo and her companions toured spring and got the feeling of spring because they had spring in their minds. Why then was it necessary "see", hear","breathe" and "smell" spring for enjoyment? SO,in my painting therefore, their eyes, ears, mouth and noses are all left out.

(Note:Lady Guoguo was completely an aristocrat in Chinese history)

Seals: At the age of 20, Zhu, Cheng, Yes? or No?, To be understood spiritually.
 

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A Man

(Framed,  Chinese ink & color on paper,  125cm×60cm,

Dated 1988,  By ZHU Cheng)

A fantasy induced by Self-Portrait by JIN Nong(1687-1784).

Seals: Zhu, Cheng, Yes? or No?, To be understood spiritually.


 

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Wind Soughs And Sighs 

Above The Chilly River Yee

(Hangscroll,  Chinese ink & color on silk,  100cm×65cm,

Dated 1989,  By ZHU Cheng)

An inspiration from A Pictorial Representation of Ode to Godess Luo by GU Kaizhi(345-406).

The original is a famous painting depicting the famous love-poem Ode to Godess Luo written by CAO Zhi,the gifted scholar in Wei Dynasty(220-265),who was deprived of his lover by his brother, Emperor CAO Pei, and was filled with deep sorrow because the lady died soon after the event. One day at the bank of River Yee he chanced to see in a trance the image of the lady appearing on the river now and again with emotional tender looks, He, being yearning for meeting with her day and night, ran after the tantalizing drifting figure up and down the river; Through the dream-like mist /On endless River Ye /I saw a tantalizing beauty /now near by now far away from me  //I wished to go up stream /to find her in a dream /Alas,there were shoals and rapids /And a long way to go ,it might seam.  //I wished to drift down the river /For love, to snuggle up to her. /Again seemingly and vaguely /She disappeared in the water  //…

This has been a moving legend, which more or less reflects the oriental outlook on love affair and ethics.

In my painting corresponding to the legend however, an absurd and chilling scene is shown ,in which the hero is seen to be communicating with his beloved dead leaving for the other world.

Seals: At the age of 20, Zhu, Cheng, A seeming acquaintance, Zhu Cheng's Somniloquy, Yes? or No?, To be understood spiritually.


 

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Marking Up

(Framed,  Chinese ink & color on paper,  90cm×46cm,

Dated 1987,  By ZHU Cheng)

An impression of The Maids of Honour Waving Fans by ZHOU Fang(687-?).

Seals: Huang Pin Shan (Huang Yan, A geographical name of Zhejiang Province), Zhu, Zhu Cheng's seal.


 

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Trotting On The Waves

(Hangscroll,  Chinese ink & color on silk,  100cm×45cm,

Dated 1988,  By ZHU Cheng)

A dynamic sense is added to The Miraculous Steed by HAN Gan(?-780)

Seals: The gist is to be caught, A seeming acquaintance, To be understood spiritually, At the age of 20, Zhu Cheng's Somniloquy, Zhu Cheng's seal, Nothing to say.


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A New Explanation Of Pao Ding’s

Wonderful Skill In Butchering Oxen

(Hangscroll,  Chinese ink & color on silk & paper,  81cm×60cm,

Dated 1988,  By ZHU Cheng)

An analysis of part of the ancient Chinese fable about Pao Ding’s ought to be done in a scientific way.

Frow this I drew my inspiration to present this new way for butchering an ox as show in my painting. Is it right, or not? It might cause you a belly-laugh, I am afraid?

Seals: Zhu Cheng's seal, Nothing to say, Cheng, Zhu Cheng's Somniloquy, To be understood spiritually.


 

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Beauties in the Inner Palace

——From 1 o’clock PM to 1 o’clock AM.

(Hangscroll,  Chinese ink & color on paper,  300cm×50cm,

Dated 1988,  By ZHU Cheng)

An impression of The Maids of Honour Waving Fans by ZHOU Fang (687-?).

The original depicted the everyday life of the imperial concubines. It makes me think of their destinies. Throughout the Chinese history, there had been thousands of imperial concubines but few of them had been in good grace of the respective emperors. They were most probably in limbo, actually living an imprisoned life in the back palace. Many a beautiful girl at the age of puberty lived at a loose end, in dullness, monotony, and loneliness, day after day. As time elapsed, their youthfulness were gone, their tears exhausted, and their beauty faded away. What a crime against humanity feudal society had committed!

In my painting, the faces of all the girls are turned into clocks. There are just thirteen of them from right to left. The first twelve clocks point their respective hour hands at 1,2,3… in succession and the thirteenth one again shows one o’clock. This SYMBOLISM is used to express my sympathy for those girls actually living an imprisoned life year in year out only to waste their time; and my accusation against the cruelty to them.

Seals: Zhu, Zhu, Cheng, Nothing to say, A seeming acquaintance, The gist is to be caught, Zhu Cheng's seal, Yes? or No?, To be understood spiritually.


 

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Visual Effect

(Hangscroll,  Chinese ink & color on paper,  110cm×60cm,

Dated 1988,  By ZHU Cheng)

Inspired from The Emperor in Procession by YAN Liben (?-673).

Seals: At the age of 20, Zhu Cheng's seal, Nothing to say, The gist is to be caught, A seeming acquaintance.


 

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A Series Of Models

(Framed,  Chinese ink & color on silk,  40x28.5cm / 1 

Dated 1989,  By ZHU Cheng)

Form and conception of pure aes the tic is shown by a combination of such factors as lines, colours, structure, techniques, and the aesthetic feeling inherent in the quality of the silk itself, without representing and concrete object, using strict classical techniques in traditional Chinese painting.

Seals: Nothing to say, Zhu Cheng's seal.


 

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Foreword of 

Individual(solo) Painting Exhibition 

(Framed,  Dated 1989,  By ZHU Cheng)

You may feel puzzled when you look at these works. I guess such feeling does not come from the paintings but the styles.

So many ways of painting lies here. For instance, take the real life as the source and make out works through collecting and refining materials; paint freely by inspirations; ignore the canvases and painting brushes for upholding a concept. The way of painting is supposed to be varied without fixed mode, yet, which is brought out only by our habits.

Zhu Cheng

In February, 1989



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Drizzling…

(Framed,  Chinese ink & color on paper,  90cm×55cm,

Dated 1987,  By ZHU Cheng)

Try to depict a romantic dream in the way of Chinese calligraphy:

It is drizzing when peach-trees are in full bossom. Wetted by the droplets, petals fall off and dance in the air. They dance and dance until finally falling on a piece of snow-white paper. They moist the paper, they also penetrate into my inde scribable heart.

Seals: Nothing to say, Zhu Cheng's seal.




The detailed information of Zhu Cheng’s work can be found in the Chinese Modern Art Achieves at Peking University.



About new works
 
 

 

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Dra
wing of Auspicious Feather

(76cm×60cm,  Feather & Silk,  2013)

Review of Zhao Ji (Song Dynasty), Drawing of Auspicious Crane.

 

Zhu Cheng’s more new works

will be show in the right time