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Zifen Qian

Zifen Qian is a New Conceptual Romanticism artist who combines eastern and western cultures in his paintings. He established a concept of Global Culture with diversity of post modernism creations. He graduated from Shanghai Normal University and Portland State University with MFA a terminal degree of visual arts. He has been Instructor, Assistant Professor, Adjunct Professor at Pacific Northwest College of Art and Portland State University. He is currently also a Visiting Professor at Art & Design College of Shanghai Institute of Technology and Art Research Specialist at Shanghai Culture & Artwork Research Institute. He has been pointed as Vice President of America Arts Research Institute in the United States.

Zifen Qian's paintings have been selected into official Shanghai Fine Arts Exhibition and Across East China National Oil Painting Exhibition in his early ages. He had numerous solo and group exhibitions in New York, Chicago, Seattle, Portland, Paris, London and other cities of the world since 1990s. He has created a great number of paintings to be published through greeting card publishing company with over hundred million copies sold around the world in the past two decades. His book "The Art of Zifen Qian" is available online and in many book stores of the United States, Europe and Asia. Oregon Senate and House of Representatives, museums, universities, corporations and private collectors have acquired his paintings. Oil painting "Traveling Companion" has been selected for the cover of an American national history book. He was exclusively invited as an illustrator of a celebrity's book "Entertaining With Betsy Bloomingdale". His artistic life has been introduced by many important US and Chinese medias such as "The Oregonian" "The Washington Post" and "People's Daily". His profile has been listed in "the Dictionary of Achievements of the World Chinese Artists", 8 times in American editions "Who's Who in America" and 12 times in American editions "Who's Who in the World".

 

Zifen Qian Statement

As a visual statement, my painting enhances western art traditions with modern spirit. One of main issues in my painting is about art standard. The painting techniques I grasp is the media of language to express my contemporary art philosophy no matter it has been done realistically or abstractly. I always believe that a professional artist must have something that those who are not art professionals do not have, that are the techniques of image making and the ability of using such techniques to present philosophical concept. It would be wrong to say that artist only need philosophical thinking without technical training. My painting has shown a clear point that art is not only a philosophical symbol but also an unique statement of creativity and aesthetics though professional skills. It is based on a simple knowledge that philosopher and thinker are not artists. The other issue in my painting is about cultural diversity. As a Chinese American artist I am proud of having the privilege and the responsibility to create artworks with multi cultural concepts as I believed an important part of Contemporary Art. In this global cultural society it becomes more and more important issue not only in artistic expression but also in all free communications.
 
I have greatly admired both western and Chinese old and modern masters who have done remarkable works with exceptional techniques and profound philosophical concepts. Those who have influenced my creative work are not only the techniques of their depictions and presentations, but more importantly the passion of creativity and its originality. From Botticelli's graceful, rounded style and the projection of a sense of spirituality in his works of later 15th century, Da Vinci, Michelangelo and Raphael's depth and powerful depiction icons in the High Renaissance, to Kandinsky, Mondrian, De Kooning and Pollock's abstract expressions in the 20th century; From Wu Dao Zhi's paintings in Tang dynasty, Guo Xi's paintings in Song dynasty to Wen Zhen Ming, Shen Zho's paintings in Ming dynasty, Ba Da San Ren's paintings in Qing dynasty. I have been truly inspired. In retrospect, my art experiences have shown the convergence of multiple approaches with those masters' influences in conjunction to my independent vision of the modern world.

  

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我的新概念浪漫主义

钱自奋


新概念浪漫主义是一个既陌生而又感觉熟悉的名词。十九世纪在印象主义掀起之前美术史上最为突出的风格之争莫过于新古典主义和浪漫主义之争。绝大多数在后来美术史上叱咤风云的艺术大师都更倾向于以德拉克罗瓦为代表的浪漫主义,说明时代审美心理己经朝着更为开放和思辩的方向发展。这为艺术表现形式走向新时代奠定了基础。浪漫主义的伟大不仅仅是在表现手法上对古典主义和现实主义的超越而是对主题概念的夸张和个性化的突破性表达。当然又难以避免的被政治利用。然而,时代审美心理在精英和普罗大众里随着人类科技发展和政治版图变更及价值观念的转变己变得更加多元。情感和思想的自由表达必然在生活的方方面面产生个性化概念,使现代社会的新概念层出不穷。当丰富多彩的现代流派给二十世纪带来盛宴之后新世纪的后现代主义到底是什么?绘画语言还要不要存在下去?作为人类自由表达思想和感情的美丽而古老的手段之一绘画形象以三维自然形象为依据创造出二维空间的第二自然是最直接的表达形式,显然应该继承发扬。这就肯定了具象存在的意义。因此,后现代主义完全应该是筛选和综合己有形式的过程,从而根据艺术家的个性和经历产生独特的表现形式。新概念浪漫主义就是这种表现形式之一。

我从小对中国传统书画深感兴趣。那种诗书画一体表现某种意境的感觉让人超脱和高尚,以至于在整个学习油画水彩画的过程中从来没有忘记这种意境的表达。当我来到美国留学更直接尝试和接触各类现代派风格后让我反复思考一个最基本的问题:什么风格最能代表我?从表面上看似乎有许多不同的表现手法能展示我的个性和思想感情,然而透过表相看本质,真正代表我的是跨文化和打破风格限制的自由表现形式!这种形式可以是抽象的也可以是具象的或两者的结合,而且不应该受油画水彩水墨等材料的限制。这就自然而然地形成了我那种浪漫地表达个性化概念的创作思路。不管是油画还是水墨画我总是试图表现东西文化融合,并使画面展现宁静和深邃以其达到思考某种浪漫概念的目的。这样就产生了新概念浪漫主义。