「Look at the Picture and Talk about the Painting」”The Combination of Photography and Painting” Resonates with Contemporary Chinese Art

Chen Fuli’s first solo exhibition in China in 1979 broke the record of 75,000 visitors. Together with the first exhibition of the April Film Festival “Nature, Society, Man” and the first exhibition of the Star Art Exhibition in the same year, they formed a diverse landscape of artistic thawing at the beginning of the reform and opening-up period. In the context of openness, they created resonance among different artistic ecosystems.

“I hope to express these breathtaking scenes that moved me through Chinese-style artistic forms,” said Chen Fuli. This was his original intention for creation, which gave birth to “the combination of photography and painting” that shocked the photography world. He broke the limitation of photography where “the shutter click freezes everything”, and made painting the “magic touch” of photography.

His innovation lies in the comprehensive integration. It is not only the combination of photography and painting, but also the incorporation of poetry and seal engraving into the works, making the images possess the artistic charm of literati paintings. However, he always adheres to the realistic essence of photography and frankly admits that this is not a new art category, but rather a cross-disciplinary attempt.

“The combination of photography and painting” uses modern photography as its carrier, continuing the aesthetic tradition of Chinese painting that emphasizes “the interplay of emptiness and fullness and the unity of poetry and painting”. It not only brings the charm of traditional Chinese literati art back to life in the language of lens, but also integrates the local cultural genes with modern artistic media, creating a unique expression that combines cultural roots with contemporary texture.

The tea for today is all gone. Next time, I’ll brew a fresh pot and enjoy art with you again.