To sum up the above, if we can accept these artists, to some extent, it represents 搈odernity?direction of Fine Brush Painting, for two reasons: first, their works gained the possibility to express modern spirit, and enabled the discussion of Chinese Painting on the level of art, rather than craft ; Second, evolution of art history depends on the arising of new 搒emantic structure? its 揷ontemporariness?is represented in the process of transition and change of the new and old 搒emantic structure? Doubtless, these Fine Brush painters are all in this process.

For a long time, contemporariness of indigenous culture has been a focus of academic debate and discussion. It is because that along with the comprehensive economic boom of China, on one hand, China enjoys the rapid development of globalization; on the one hand we are so facing the danger of aphasia of local culture. It is an unavoidable issue of this era that how to make the modern culture indicate: the rise of a country needs not only hard power, but also needs support of soft cultural power. And a country抯 cultural power is directly from the modern transformation of traditional culture. This catalogue and related exhibition try to show through their own efforts that besides above-mentioned mis-understanding, there are still many another ways to make modern transformation of Traditional Chinese Painting, one possibility is: using Traditional Chinese Painting as a Basic Language, while stressing on modern transition of expression of contemporary spirit. On them, I see a possibility: Chinese painting can intervene in the pattern of the development of global arts, input Chinese elements to the process of globalization through their oriental attributes, and become one of the powers to influence the development of the art world.

Perface

Xu Lei

Cui Jin

Jiang Ji抋n

Chen Lin

Lei Miao

Zhang Jian

Gao Qian

Qin Ai

Xu Hualing

Hang Chunhui

Zheng Qingyu