{"id":734,"date":"2026-07-15T13:48:27","date_gmt":"2026-07-15T20:48:27","guid":{"rendered":"https:\/\/new.shengproject.com\/?page_id=734"},"modified":"2026-07-15T14:20:12","modified_gmt":"2026-07-15T21:20:12","slug":"preface","status":"publish","type":"page","link":"https:\/\/new.shengproject.com\/en\/about-me\/preface\/","title":{"rendered":"Preface"},"content":{"rendered":"<div class=\"wp-block-columns ext-animate--on is-layout-flex wp-container-core-columns-is-layout-a6d52a1f wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<h5 class=\"wp-block-heading ext-animate--on\">Index<\/h5>\n\n\n\n<ul class=\"wp-block-list ext-animate--on\">\n<li><a href=\"https:\/\/new.shengproject.com\/en\/about-me\/\" title=\"Info\">Info<\/a><\/li>\n\n\n\n<li><a href=\"https:\/\/new.shengproject.com\/en\/texts\/\" title=\"Texts\">Texts<\/a><\/li>\n\n\n\n<li><a href=\"https:\/\/new.shengproject.com\/en\/interviews\/\" title=\"Interviews\">Interviews<\/a><\/li>\n\n\n\n<li><a href=\"https:\/\/new.shengproject.com\/en\/videos\/\" title=\"Videos\">Videos<\/a><\/li>\n\n\n\n<li><a href=\"https:\/\/new.shengproject.com\/en\/curating\/\" title=\"Curating\">Curating<\/a><\/li>\n\n\n\n<li><a href=\"https:\/\/new.shengproject.com\/en\/editing\/\" title=\"Editing\">Editing<\/a><\/li>\n\n\n\n<li><a href=\"https:\/\/new.shengproject.com\/en\/art\/\" title=\"Art\">Art<\/a><\/li>\n\n\n\n<li><a href=\"https:\/\/new.shengproject.com\/en\/archive\/\" title=\"Archive\">Archive<\/a><\/li>\n\n\n\n<li>\u76ee\u5f55<\/li>\n\n\n\n<li><a href=\"https:\/\/new.shengproject.com\/en\/contact\/\" title=\"Contact\">Contact<\/a><\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><img decoding=\"async\" src=\"https:\/\/new.shengproject.com\/wp-content\/uploads\/2026\/07\/photo66_med_hr.jpeg\" alt=\"\"\/><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<h4 class=\"wp-block-heading ext-animate--on\">Preface<\/h4>\n\n\n\n<p class=\"ext-animate--on wp-block-paragraph\">In 2009 in New York, Jane Debevoise of Asia Art Archive made&nbsp;<a href=\"http:\/\/www.china1980s.org\/tc\/interview_detail.aspx?interview_id=45\">a video interview<\/a>\u00a0with me on Chinese contemporary art of 1980s. In the following year AAA sent Anthony Yung to my home in Vancouver for a week, to help organizing my messy old documents and materials. He brought back a few boxes to Hong Kong for scanning.  It became a part of their ambitious database&nbsp;<a href=\"http:\/\/www.china1980s.org\/tc\/Default.aspx\">\u201cMaterials of the Future: Documenting Contemporary Chinese Art from 1980-1990\u201d<\/a>. I was inspired by the earnest and dedicate effort they made for this project. I have been always for the idea of \"openness\" and \"resource sharing\".  I began to organize and sort out various materials I collected in the past, including texts, images and videos. It seems a simple task but also quite time-consuming.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In 2013 the China Academy of Art Press published a four-volume&nbsp;<a href=\"http:\/\/www.caapress.com\/index.php?m=Newsinfo&amp;a=show&amp;id=13\">\"Zheng Shengtian\u2019s Writing on Art\u201d<\/a>. This is the first result of my effort in past few years. The credit should also goes to Ms. Li Lin, Geng Jianyi and his \"imagination laboratory.\" Without their encouragement and support these little books won\u2019t be available for our readers so quickly. The second step of my plan is to build a web page, so that I can continue to upload my documentation on an open platform, providing reference and communication channel for everyone. Often people would ask professionals to design and manage their website, but for a personal one, it does not seem convenient and efficient. I have always hesitated to trouble others. One day I discovered software Sandvox. After downloading the trial I found it very handy and thought I might be able to DIY even with high tech. Although the software may not make exquisite design or do complex jobs, it is good enough for a plain-use database.<\/p>\n\n\n\n<p class=\"ext-animate--on wp-block-paragraph\">I call this site \"Sheng Project\". In Chinese it could be translated as \u201cSheng\u2019s homework\u201d. It is actually loaded with the \u201chomework\u201d I had made over the years and will continue to do so. I agree with the statement on AAA\u2019s website: an archive is not \u201can enclosed space, but a space that is open and productive, generating new ideas and works that continually reshape the archive itself\u201d.  I hope that my homework could inspire other people\u2019s thinking, and through more interactions we will be able to improve our research and understanding on the issues we all concern.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\"><a href=\"http:\/\/www.china1980s.org\/en\/about2.aspx\" title=\"\u201cMaterials of the Future: Documenting Contemporary Chinese Art from 1980-1990\u201d Preface\">\u201cMaterials of the Future: Documenting Contemporary Chinese Art from 1980-1990\u201d Preface<\/a><\/h4>\n\n\n\n<p class=\"wp-block-paragraph\">In the fall of 1983, I boarded the Trans-Siberian Railroad in Europe and slowly made my way back to Beijing. Someone I met on the train remarked: \u2018Your timing\u2019s really good, because if you had come back just a little earlier, you would have encountered the last sparks of the Anti-Spiritual Pollution Campaign. As a recent returnee from Europe, you certainly would have made quite a target, wouldn\u2019t you?\u2019 Having experienced the turbulence of the Cultural Revolution, I couldn\u2019t help but feel somewhat anxious at the news that yet another campaign had been launched.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">It was September 1981 when I left China. At the end of the Cultural Revolution, China\u2019s isolation and backwardness were painfully evident. As part of the open-door policy, the leadership decided to send a selected group of scholars and educators overseas for advanced training. At the time I was teaching at the Zhejiang Academy of Fine Arts (now the China Academy of Art). After sitting for a national exam, I was one of the lucky few to be chosen for this rare opportunity. As one of the first artists from China\u2019s art academies to be sent overseas through official channels, I was assigned to a two-year program of study at the University of Minnesota in the United States. Towards the end of my stay, I travelled to Europe where I visited 12 countries in three weeks and took many thousands of slides and photographs. I clearly recall a visit I made to the Belvedere Museum in Vienna, which houses the world\u2019s largest collection of paintings by Gustav Klimt. I had just taken out my camera when a security guard stopped me. I asked if I could talk to the museum director, and when I explained to her that the photographs I took would give untold numbers of Chinese students the opportunity to see original Western masterpieces for the first time, she was very moved.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I carried the materials I had gathered first hand, together with a head full of impressions, back with me to Hangzhou. At this time the situation inside China was relatively more relaxed. Young people were eager for knowledge from the outside world, and a number of universities and institutes invited me to lecture. In the early 1980s the media was still heavily restricted in China, and it was rare to meet anyone who had been abroad; thus my first-hand knowledge, observations and experiences were enthusiastically welcomed by the audience. The Central Academy of Fine Arts put up a gigantic red poster announcing \u2018Zheng Shengtian to Discuss Western Art\u2019 in hand-brushed characters. My lectures in Beijing and Shenyang lasted for four or five hours, and hardly anyone ever left the room. In 1985 I was invited to a national oil painting conference in Jinxian, Anhui province, to present a talk on trends and developments in Western art. It was here that I first brought up the concept of postmodernism, which generated a huge amount of interest. The debut issue of the newspaper Fine Arts in China (Zhongguo meishubao) made this the subject of their lead article.<sup data-fn=\"c23d2f40-c281-4aaa-bba8-4847cec2ef5f\" class=\"fn\"><a id=\"c23d2f40-c281-4aaa-bba8-4847cec2ef5f-link\" href=\"#c23d2f40-c281-4aaa-bba8-4847cec2ef5f\">1<\/a><\/sup>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Not long after, I was appointed as chairman of the Zhejiang Academy\u2019s Oil Painting Department and later was made director of the Academy\u2019s Foreign Affairs Office. Clearly, the Academy\u2019s leadership hoped that I would maximize the usefulness of the knowledge and experience I had gained in the West. But any efforts towards academic reform were greatly hindered by obstacles encountered due to the weight of academic tradition. For example, in contrast to the situation overseas, the teaching curriculum in the Chinese art academies was highly restrictive and atrophied. It was completely unsuited to creative development. Despite our best efforts, we were able to obtain only two weeks of elective courses for students in each department. The Academy\u2019s existing academic content was restricted to a rigidly set syllabus, and any attempt to change it was not to be lightly undertaken. Thus it was very fortunate that I was able to take advantage of my position in the Foreign Affairs Office to arrange a series of extra-curricular activities and lectures at the school. In 1984 we invited Professor Roman Verostko from the United States to conduct a seminar, illustrated with slides, on&nbsp;<a href=\"https:\/\/shengproject.com\/archive\/old-photos\/lecture-on-modern-art\/1985.html\">the history of Western 20th-century art<\/a>\u2014the first time this was ever done in China. Universities and academies from all over the country sent people to attend the seminar. The following year, we used the same method to invite our old friend and colleague Zhao Wuji to Hangzhou to give a studio course in oil painting. The impact of these two events on the Chinese art world proved to be both deep and far reaching.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">During my student days, I was often criticized for having \u2018liberalist\u2019 tendencies and for failing to abide by the rules. But I always felt that the idea of doing art without innovative thinking was ridiculous. In 1984, just after my return from Europe, Jin Yide and I were the supervisors of the graduate-level courses in the Oil Painting Department. Among our graduate students were Geng Jianyi, Liu Dahong, Wei Guangqing, Wan Lihua, Ruan Jie, Chen Ren and Wei Xiaolin. They were all very lively thinkers, and their creative work was marked by fresh ideas and innovative approaches. For example, Geng Jianyi\u2019s painting Two People Under a Light (Denguang xia de liangge ren), depicted a poker-faced, expressionless man and woman seated rigidly in front of a table. In Chen Ren's Jump for Joy (Tupo), the action of an athlete performing the high jump against a bright blue sky was divided into three separate frames of motion. We admired how these students were able to move beyond the usual conventions of grand subjects and realist technique. At the same time, however, these same qualities made some members of the Academy\u2019s leadership and faculty extremely nervous. As a result, an intensive three-day meeting of all department heads was held to discuss these kinds of \u2018incorrect tendencies\u2019. One speaker actually broke down in tears and denounced the students\u2019 creativity as veering away from the path of socialism. Despite the strenuous arguments in the students\u2019 defence put forth by myself and the other graduate-school professors, we were in the minority. In the aftermath, I wrote an article called \u2018This is Not a Critique of Creativity\u2019 (Bingfei dui quangzao de pinglun) for the campus publication New Art (Xin yishu), which criticized the politicization of art.<sup data-fn=\"8913052d-9cc0-4e3f-94d2-dd09baf6ac8b\" class=\"fn\"><a id=\"8913052d-9cc0-4e3f-94d2-dd09baf6ac8b-link\" href=\"#8913052d-9cc0-4e3f-94d2-dd09baf6ac8b\">2<\/a><\/sup>As news of the controversy spread, the editors of the Beijing-based journal Art (Meishu) sent Tang Qingnian to Hangzhou to investigate the situation and conduct interviews. Not long after, the magazine published a detailed article on the development of the debate and included several images of paintings by the students.<sup data-fn=\"612701a9-0715-447a-80a6-72cd46d0f22f\" class=\"fn\"><a id=\"612701a9-0715-447a-80a6-72cd46d0f22f-link\" href=\"#612701a9-0715-447a-80a6-72cd46d0f22f\">3<\/a><\/sup>This became one of the most well-known and controversial incidents of the \u201985 New Wave movement.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><img decoding=\"async\" src=\"https:\/\/new.shengproject.com\/wp-content\/uploads\/2026\/07\/zst-images_med_hr.jpeg\" alt=\"\"\/><figcaption class=\"wp-element-caption\">Left to right:<br>(1) People Under a Light, Geng Jianyi, 1985, oil on canvas.&nbsp;<br>(2) Jump for Joy, Chen Ren, 1985, oil on canvas, on the cover page of New Art(Xin meishu), no.4 (1985).&nbsp;<br>(3) Catalogue cover, Beyond the Open Door: Contemporary Paintings from the People\u2019s Republic of China, 1987.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Hangzhou also developed the reputation of being one of the epicentres of the \u201985 movement, as many important events took place there: the exhibitions \u2018New Space \u201985\u2019, \u2018Red White Black\u2019 and \u2018Last Exhibition \u201986, No. 1\u2019; the creation of groups such as the Pond Society and Red Humour International; and the establishment of the Institute Art Tapestry Varbanov, among others. Some of the most dynamic members of the contemporary art circles in other urban centres also came out of Hangzhou, including Huang Yongping, Wang Guangyi and Yan Shanchun, to name a few. Living and working there, I was keenly in touch with the pulse of the movement, and together with a number of other artists, experienced its alternating waves of excitement and despair.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I was always on the look-out for spaces in which contemporary art could flourish. When I was offered a teaching post at San Diego State University in 1986, I took advantage of the opportunity to organize an exhibition of Chinese contemporary art at the Pacific Asia Museum in Pasadena. Entitled \u2018Beyond the Open Door: Contemporary Paintings from the People\u2019s Republic of China\u2019 (1987), the exhibition marked the first time that artists like Zhang Peili, Geng Jianyi, Zhang Jianjun, Xu Jiang and Wang Jianwei were seen by American audiences. In 1988, after returning to Hangzhou, I set up the Zhejiang International Institute for the Arts (Zhejiang shijie meishu yanjiuhui), which published a journal called International Institute for the Arts Bulletin dedicated to introducing overseas art movements. I also devised a plan to create a space where contemporary art could be exhibited. This actually resulted in the set-up of two different spaces in a collaborative effort between Hangzhou and Shanghai: the Hangzhou Hotel Zhejiang Academy of Fine Arts Tapestry Gallery and the Art Gallery of the Shanghai Drama Institute. This marked the first attempt in China at a merger between art and the market.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The 1980s marked the birth and tumultuous growth of Chinese contemporary art. In a catalogue essay for a later exhibition I organized for the Pacific Asia Museum, I wrote: \u2018After about a decade of fermentation following the Cultural Revolution, the tide of Chinese avant-garde art known as the \u2018Youth Art Movement of \u201985\u2019 finally appeared. Most art critics agree that this movement was formed after China had opened its door and been exposed to Western culture. The philosophical and artistic ideas of this movement were naturally \u2018shallow and confused\u2019, but it\u2019s attack and destructive influence on tradition and the public was so obvious as to need no explanation.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A quarter of a century later, Chinese contemporary art has moved from the periphery to centre stage. Never before have Chinese artists enjoyed such positive creative conditions and environments, or such levels of international respect and recognition. Yet at the same time, they are also facing an unprecedented challenge. For contemporary artists in this new era, the critical challenge lies in whether or not they will be able to escape being completely influenced and controlled by the culture of the market and of politics. Today we are looking back at the past, reassessing the conditions of the 1980s when contemporary art was in its infancy: its passion and its idealism, its searching and its confusion, its failures and its successes. By returning to the original starting point of Chinese contemporary art, we may perhaps gain some insights and reflections that will be of benefit to our present time.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I would like to thank&nbsp;<a href=\"http:\/\/www.aaa.org.hk\/\">Asia Art Archive<\/a>&nbsp;for inviting me to contribute original materials from that period which I have collected and preserved over many years. I hope that they will be useful for research and discussion. I would like to thank Jane DeBevoise and Claire Hsu of the Archive, who have given their most serious attention this project; and Anthony Yung, who has put great effort and meticulous care into the work, particularly in coming to Vancouver to assist me in organizing and annotating the material. To them I extend my heartfelt gratitude.<\/p>\n\n\n<ol class=\"wp-block-footnotes\"><li id=\"c23d2f40-c281-4aaa-bba8-4847cec2ef5f\">Zhai Mo, \u2018History, Concept, Character\u2019 (Lishi, guannian, gexing), Fine Arts in China (Zhongguo meishubao), no. 1 (Beijing: Chinese National Academy of Arts, 1985). <a href=\"#c23d2f40-c281-4aaa-bba8-4847cec2ef5f-link\" aria-label=\"Jump to footnote reference 1\">\u21a9\ufe0e<\/a><\/li><li id=\"8913052d-9cc0-4e3f-94d2-dd09baf6ac8b\">Zheng Shengtian, \u2018Not A Critique of Creativity\u2019 (Bingfei chuangyide pinglun), New Art (Xin meishu), no.4 (Hangzhou: Zhejiang Academy of Fine Arts Publishing House, 1985). <a href=\"#8913052d-9cc0-4e3f-94d2-dd09baf6ac8b-link\" aria-label=\"Jump to footnote reference 2\">\u21a9\ufe0e<\/a><\/li><li id=\"612701a9-0715-447a-80a6-72cd46d0f22f\">Xi Gang, \u2018An Overview of the Main Points of the Controversy over the Creative Work of Graduate Students of the Zhejiang Academy of Fine Arts\u2019 (Zhejiang meishu xueyuan biyesheng chuangzao taolun lundian zhaibian), Art (Meishu), no. 9 (Beijing: Chinese Artists Association, 1985). <a href=\"#612701a9-0715-447a-80a6-72cd46d0f22f-link\" aria-label=\"Jump to footnote reference 3\">\u21a9\ufe0e<\/a><\/li><\/ol><\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>\u7d22\u5f15 \u524d\u8a00 2009\u5e74\u6211\u53bb\u7ebd\u7ea6\uff0c\u4e9a\u6d32\u827a\u672f\u6587\u732e\u5e93\u7684\u675c\u67cf\u8d1e\u5973\u58eb\uff08Jane Debevoise\uff09\u7ea6\u6211\u505a\u4e86\u4e00\u6b21\u5173\u4e8e19 [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":739,"parent":49,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0,"footnotes":"[{\"content\":\"\u7fdf\u58a8\uff0c\u3008\u6b77\u53f2\u2022\u89c0\u5ff5\u2022\u500b\u6027\u3009\uff0c\u300a\u4e2d\u570b\u7f8e\u8853\u5831\u300b1985\u5e74\u7b2c1\u671f\uff0c\u4e2d\u570b\u85dd\u8853\u7814\u7a76\u6240\u7f8e\u8853\u7814\u7a76\u6240\uff0c\u5317\u4eac\u3002\",\"id\":\"c23d2f40-c281-4aaa-bba8-4847cec2ef5f\"},{\"content\":\"\u912d\u52dd\u5929\uff0c\u3008\u4e26\u975e\u5c0d\u5275\u4f5c\u7684\u8a55\u8ad6\u3009\uff0c\u300a\u65b0\u7f8e\u8853\u300b1985\u5e74\u7b2c4\u671f\uff0c\u6d59\u6c5f\u7f8e\u8853\u5b78\u9662\u51fa\u7248\u793e\uff0c\u676d\u5dde\u3002\",\"id\":\"8913052d-9cc0-4e3f-94d2-dd09baf6ac8b\"},{\"content\":\"\u897f\u5d17\uff0c\u300a\u6d59\u6c5f\u7f8e\u8853\u5b78\u9662\u7562\u696d\u751f\u5275\u4f5c\u8a0e\u8ad6\u8ad6\u9ede\u6458\u7de8\u300b\uff0c\u300a\u7f8e\u8853\u300b1985\u5e74\u7b2c9\u671f\uff0c \u7f8e\u8853\u96dc\u8a8c\u793e\uff0c\u5317\u4eac\u3002\",\"id\":\"612701a9-0715-447a-80a6-72cd46d0f22f\"}]"},"class_list":["post-734","page","type-page","status-publish","has-post-thumbnail","hentry"],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- All in One SEO 4.9.8 - 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