My view of art
　　I take much more importance on the comprehension of landscapes' essence than its appearance. Most of my pictures can reflect my emotion, because true emotion is apt to reveal naturally. It contains my understanding of living and self-recognize of life's value. Maybe everyone would have difficulties, while the beauty of nature can bring pleasure to anyone. Thus I find the warmth in the paintings which make me recognize myself in ideal, comfort and locate myself in pain, soothe myself in troublous reality.
　　My basic principle as a professional painter is to observe the world with calm and puzzled point of view, leaving everything as it is. I pursue the meaning of living in order to free myself from fame and wealth, self-possessed in wretched condition. Peace, calmness and definite purpose are my understanding about life and art. For the freedom of life and nirvana of soul, I struggle for chasing my art. Through self-adjusting, I am able to enjoy the happiness of spiritual world of art. Maybe happiness is an obscure and discontinuous vision, while it must be natural.
　　A lot of people always think highly of themselves, but look down upon others. Actually it is a mirror of mental state. The best things to really test oneself are frustrations and setbacks, and the best means to get rid of misfortune are consistent efforts, never saying giving up. Just as Victon Hugo once said: “ For those who are confident and don't mind temporary loss, there is no failure; for those who are indomitable, there is no failure…” I wish I would be a ball. The deeper it drops, the higher it bounces.
　　The art is infinite, while the life is definite.
　　Art creating is a process that could purify the soul and exceed oneself constantly. I have searched out the pleasure from it, so I wish I could also bring it to you.
　　The life beyond, I must be an artist too!

“The past flowing like water”
------- my feelings about Zhao Jing' s landscape oil painting
Zou Yuejin (professor of aesthetics Central Art College)
　 Zhao Jing's landscape oil painting about riverside town in South China occurred me that Confucius once sighed two thousand years ago: “The past is flowing like water without a break.” But what I sighed out is Zhao Jing's art, because it focuses on the humanism sites during the change of history. At the same time, it shows the contradiction and conflict between the lapse of time and the eternity, and the culture, life's meanings that are uncovered by contradiction and conflict. Standing above it, I feel Zhao Jing's landscape oil painting have exceeded the limit of landscape pictures' subjects entered into a state of experiencing life; in detail, Zhao Jing expresses his thoughts and comprehensions about all kinds of relevancy between the cultural history and the present age, the changeful time and the eternity through painting and creating his riverside town. Of course, all this possibility lies in that he is an artist who has well mastered oil painting's language and relative skills, although it is not the key point in this passage.
　　An undeniable fact is that nowadays we live in a stage where ante-modern, modern and post-modern exist together. What's more, the latter two are now swallowing all things about ante-modern with irresistible force, or changing its essence and the things relative with labor into the objects of touring. This fact means that the humanism sites representing different history and culture are all connected with fragmentary splice and multi-tense parallel way in China. As a result, they have come into being various fancy sites. Obviously, what Zhao Jing is interested are those humanism sites that are still left as splices but will be thrown into the history. Therefore, the riverside town in his painting is pure, without any modern city life's trace, such as tumultuous noise, hasty steps and crowded people, only silent peace, perfect harmony and absolute purity left.
　　Zhao Jing lets us enter into a past world irrelevant with the present age, tasting and perceiving the contradiction of flowing time and eternal spirit.
　　Although I can't conform the specific emotion when he was painting these pictures, one point is definite that he must be hooked in the riverside town as he created it as a fairyland; while just this mood helps us conclude that the artist is sentimental with the past like us. Remembering Schiller once said: “ there are two kinds of artists, realistic and romantic. The former ones just paint and concern about the reality because the reality has been perfect; the latter ones are different, they are disappointed and suffering about the miserable and incomplete facts, believing the past was better, so they always like to recall, miss, express and draw the past fine world, hooked in it and revealing sentimental emotion. Zhao Jing is a romantic artist in this way.
　　Maybe we can use the mind of respecting nature, just like Su Dongpo (a famous poet in Song Dynasty) saying: “ All the past has become memories, only the wind and the moon are still here.” to respond Confucius's sigh “ The past is flowing like water”; we can also use the means which reverse change into eternity in Zhao Jing's paintings, treating the state he paints as a eternal spiritual home to avoid cruel and ruthless facts. I think, it is the culture meaning that this series of landscape oil paintings express at this moment.

Integration of Chinese-style painting language conversion

- Zhao net oil comment

Chinese contemporary art over the past few years is a "hot" for a while, but this year, but in an unprecedented "Silence." In recent years, Chinese artists have also appeared several times the mentality of "ups and downs ups and downs" of the state, few people can calm the situation has remained calm, in which artists I know, is this one of the few net Zhao one of several artists.

I should say that I have witnessed the net Zhao history of art in recent years. His studio many times in recent years to move the horse from Nanjing Hexi Taiwan Street moved, moved from the Hexi Olympic Sports Center. Today, in Beijing and Nanjing have their own place to work. This change in the workplace actually reflects the art Zhao net change in recent years. With the large workplace, Zhao net of style, drawing techniques, drawing up flavor quickly generous. His exhibition from Nanjing to Shanghai, Beijing and many cities in Europe.
I have been pondering a landscape painting south artists is how to theme so popular in the arts have become so vast abyss? Perhaps the artist's personal integrity and mission of the times perhaps, but probably within the condensed to such artists. . . . . . In short, Zhao net paintings a day or two deep and the thickness is not the skill of the artist within the past few years it is the accumulation and precipitation.
Zhao has never given up on the net creation of southern landscape, because he believed that: he will be the subject of Chinese popular up to the height of an international language. This insistence and persistence than the average artist can achieve. Many artists like to ingratiate, and Zhao net has done to art artists really listen and follow the inner voice. Zhao net art is in keeping with his own innate qualities.
Zhao tone lower and lower net works, content is increasingly concentrated, but contrary to the presentation of a kind of majesty. In fact, this is refined on the results. This inside honing their personal accomplishment, life experience, the quality of forging and the accumulation of creative arts. . . Zhao I view the net, so he was able to expand his realm of artistic creation and his arrogance and impetuosity of mind and spirit of perseverance and unceasing inseparable! This kind of mentality and spirit of the will of his art onto a new level with another high, another a more generous expansion of a state of the art!

The so-called "Chinese", I would like to Zhao's paintings in the net should be that way: remove all the thick brush strokes, rendering them dissolve in every corner of the screen, feeling a little blooming somewhat impressionistic feeling, applies a kind of erase the ancient Chinese culture, turned to a lightweight frame, makes the impression of distant heavy sway in screen culture, Siyousiwu, like much like the past, although the fuzzy but real ... .... Is not that "Chinese Painting" by the pursuit of artistic conception of it?

This year, the arts are about to find Chinese-style language, the people in the contemporary art world seems to show up Chinese-style image, doing more than the anti-sense of the people a little bit shallow, I think the real "Chinese" language of art, on the integration of content and form. "Chinese-style painting language" more emphasis should be a mood, a spirit!

China's ancient buildings will be carrying a nation's spirit, it is a net oil painting Zhao bearer of artistic language, but it had a net Zhao integration and transformation, making them both a very concrete objects, has become a kinds of non-material mental impression. The artist's work lies in the schema with clever, subtle language between material and non-material transformation. Conversion result is: Let China's "schema" is no longer direct, impetuous, superficial, but has a high degree of integration and transformation of the spirit.



Of the article: Xue Hongyan (well-known curator, critic, Doctor of Arts)