Chien Hsiu-Chih: Artist Cen Long Finds Love and Hope in Painting

"Love Media: Chien Hsiu-Chih's Column

"Child, you must strive!" One sentence, one broken chain, and a lifetime of striving momentum.

In 1966, during the great changes in China, scholar Cen Jiawu (1912-1966) was publicly criticized and, in full view of the public, jumped out of the window in search of a quick death. He fell heavily to the ground, blood flowing, but still alive. The crowd watched, pointed fingers, but no one stepped forward to rescue or help him to the hospital.

A month later, a small package arrived from the relevant authorities, claiming to contain Cen Jiawu's belongings. The family thought it was his ashes, but upon opening it, they found only Cen Jiawu's eyeglass case with his nearsighted glasses, and a crumpled note in Cantonese that read, "Child, you must strive!"

The artist Cen Long (1957-) is always moved to tears when recalling this tragic event from years gone by, mourning the loss.

Preserving the Family Lineage, Dwelling Far Away

In the 1950s, China was plagued by war, poor hygiene conditions, and rampant epidemics. Both of Cen's infant sisters died from infectious diseases. At the age of 2, Cen Long was sent to Lyon, France, to live with distant relatives, hoping to preserve the family lineage.

Cen Jiawu and his wife missed their child terribly. Around 1965, thinking that society had calmed down, they brought 8-year-old Cen Long back home, only to face the overwhelming historical upheaval in China the following year. Cen Jiawu, who had studied abroad and taught at university, became a key target of criticism. Seeing himself as having made contributions to the study of national culture, he refused to dance to the tune of criticism and resisted participating in humiliating acts. This, however, led to even greater personal attacks, with his dignity being maliciously trampled upon. In the end, he jumped out of the window, slowly dying in a pool of blood.

Cen Long, unable to enjoy the enlightenment and teachings of his well-educated father, saw his mother sent to labor reform amid the political persecution. The family scattered, facing hardships, and this set the stage for his precocious life.

Lonely Travels, Inescapable Fate

Cen Long often jokes that he is lonely because he has traveled too far, and he has traveled too far because he is lonely. Art has become the solace and companion of most of his life.

Due to the deaths of his two sisters, Cen Long carried the mission of preserving the Cen family's lineage from a young age. Sent away at the age of 2, he lived with distant relatives, with everyone busy working and studying. The young boy learned to pass the lonely time through doodling.

Gradually, his distant relatives recognized his early talent in painting. At the age of 4, he was enrolled in an art class in a French kindergarten, learning to paint with watercolors. His mature expressions always received praise.

During weekends, his distant relative, who was a teacher, often took him to art museums to see original works. Thus, he was luckier than most children, having seen many masterpieces from an early age. Learning from them, he would express his imaginative thoughts on blank paper. His sunny artwork became a topic of discussion among adults and was even used as a gift for neighbors, giving him a sense of accomplishment.

The classic works of masters and the solemn atmosphere of the art museum became his direct nourishment in childhood, the starting point of his eye training, and the beginning of his focused attention. He grew accustomed to quiet creation and was not afraid of being alone.

Among the many masterpieces in the museum, the one that left the deepest impression on him was a small piece by the fireplace. Amidst the white snow, there was a small wooden house in the mountains, the fire burning brightly. A poor fisherman leaned against the fireplace, mending fishing nets. A cute little girl read aloud on a wooden stool, and the fisherman, immersed in the childlike reading, heard the crackling of the fire, turning it into a celestial melody. He forgot the hardships of mending fish and the harshness of midwinter.

Perhaps because of his background away from home, the little boy longed for the warmth of parents' companionship. This work was imprinted in his mind until he grew up and learned that the painting's author was the Finnish painter Akseli Gallen-Kallela (1865-1931). Known for his works based on the Finnish national epic "Kalevala," Gallen-Kallela's paintings played a significant role in shaping Finland's national identity, leaving a profound impact."

Father and Son Together, a Eternal Myth

After returning to his parents, Cen Long had a brief period of collaboration with his father. Although his father did not wish for him to pursue art, fearing he wouldn't find a stable livelihood, deep down, he was proud of his son's artistic talent. On one occasion, his father brought him new paper and pens. Cen Long enthusiastically drew a detailed and heartfelt depiction of the Hongshan Pagoda, reflecting his childhood impression. His father, on another blank sheet, outlined a pagoda, instructing his son to add mountains, rocks, and trees. He then told him, "Drawing is about capturing feelings, finding emotions to express. Three parts representation, seven parts drawing the spirit." The father proudly titled it "Father and Son's Spring Festival Brushwork."

Rarely did father and son compete on the same stage, conveying the true essence of art silently. Cen Long often laments the shallow connection between father and son. The collaborative work of father and son has long been lost in the chaos of society, but the father's unplanned explanations and teachings have benefited him throughout his life.

In the 1930s and 40s, China saw the emergence of numerous academic talents. From the perspective of Chinese anthropology and ethnology, there was a saying: "South Cen, North Fei." "North Fei" referred to Fei Xiaotong, while "South Cen" referred to Cen Jiawu, who emerged from Hainan.

A Well-Educated Father, Preferring Death to Submission

Born in 1912 in Cenghou Village, Paipo Township, Yongfa Town, Chengmai County, Hainan, Cen Jiawu lost both parents at a young age and was raised by his older brother and sister. Despite his humble background, this young man from Hainan excelled in self-study. From 1927 to 1932, he traveled from Hainan to Guangzhou, then from Guangzhou to Beiping (Beijing), and back to Guangzhou. Regardless of the difficulties he faced, he was determined to pursue his education.

In 1927, having graduated from elementary school, Cen Jiawu had to drop out due to a lack of funds and went to work in Guangzhou, staying with his uncle Cen Guoying. The following year, with financial support from Cen Guoying, Cen Jiawu entered the Guangdong First High School. Subsequently, he and his fellow townsman Wang Xingrui went from Guangzhou to Beiping for further studies, where they gained the support of the renowned epigrapher Rong Geng.

In August 1931, Cen Jiawu enrolled in the private Furen High School in Beiping. The next year, due to a lack of tuition, he had to reluctantly drop out. However, he never gave up on education. Later, he moved to the Guangdong Club in Beiping, auditing classes at the nearby school, and studying on his own at the Beiping Library. At the same time, to make a living, he wrote articles for newspapers, barely sustaining himself with the fees he earned, often living on buns.

During his self-study at the Beiping Library, Cen Jiawu attended academic lectures by the famous folklorist Professor Xu Dishan at Peking University, sparking his interest in anthropology.

In 1932, sponsored by his cousin Cen Tingshu, Cen Jiawu went to Japan for further studies, majoring in prehistoric archaeology at the University of Tokyo. During his three years in Japan, he wrote three works: "Prehistoric Art History," "Introduction to Prehistory," and "Totem Art History," all published by the Commercial Press.

At the young age of over 20, Cen Jiawu authored three books successively, a rare feat in academia. Three years later, having completed his studies in Japan, Cen Jiawu returned to China, continuing his frontline research in Chinese anthropology and ethnology, contributing foundational or pioneering work to disciplines such as anthropology, ethnology, and history.

In Cen Jiawu's 54 years of life, he made significant contributions in various fields such as prehistoric art history, art, folklore, sociology, and ethnology. The sheer volume and breadth of his writings were unparalleled among his peers. Some of these works were published during his lifetime, while others were released years after his passing. They include "Totem Art History," "Prehistoric Art History," "Introduction to Prehistory," "Chinese Art Essays," "Collected Essays on Southwest Ethnic Culture," "Draft History of Primitive Society in China," "Collected Research Papers of Cen Jiawu on Ethnic Studies," "Selected Academic Papers of Cen Jiawu," "Flood Legends Collection," and "Qu Yan Collection." The Hainan Publishing House launched the "Qiongya Library" series, with "Collected Works of Cen Jiawu" featuring his major works.

Resilient Struggle, Artistic Leadership

Despite hailing from an intellectual family, Cen Long always kept his father's struggles and misfortunes hidden deep within his heart. His father's admonition to "strive for excellence" left a lasting imprint on his mind. Cen Long inherited two values from his father: not succumbing to adversity and misfortune, and using knowledge to transform one's destiny.

In the late 1960s, the tumultuous changes in mainland China compelled young people to go to the countryside for service. Due to his proficiency in painting, Cen Long falsely reported his age to enter what was known as the cultural work troupe. There, he painted stage scenery, served as a creative counselor, and assisted in modifying selected works. Among his colleagues were many talented artists, providing opportunities for interaction and mutual improvement.

In 1979, he left his job and leapfrogged to apply for the Xi'an Academy of Fine Arts, where he began the reconstruction of his academic qualifications. In 1980, he obtained a master's degree from the Xi'an Academy of Fine Arts. He later joined the China Artists Association and participated in the "85 New Wave" contemporary art movement in Hubei Province. His youthful enthusiasm left no room for idleness.

Cen Long was acquainted with his colleague, the Chinese artist Shang Yang (1942-). On one occasion at Shang Yang's home, Cen Long saw a book of Austrian painter Egon Schiele's (1890-1918) works. The morbid aesthetics of Schiele's paintings left a profound impact on him. The nervous imagery and lines evoked admiration, presenting a clash of emotions through the combination of color blocks, the structure of figures, and the atmosphere of the paintings.

From this experience, Cen Long realized the importance of thematic structure in painting. He understood that color layout, scenery arrangement, the juxtaposition of reality and illusion in figures, and the application of brushstrokes all had to serve the broader context to capture the atmosphere and ultimately achieve the soul of a painting.

While Cen Long's artistic style superficially employed representational techniques and methods, his pursuit was rooted in expressing abstract concepts. He considered painting a way to comprehend life and convey emotions.

Having early exposure to Western art and having seen more original works than others, Cen Long had a great affinity for several masters. He extensively researched and contemplated the works of classical masters such as Frans Hals (1580-1666), Diego Rodriguez de Silva Velazquez (1599-1660), Sir Anthony van Duck (1599-1641), and Rembrandt Harmenszoon van Rijn (1606-1669), absorbing their logic, both in content and technique.

Regarding the choice and application of colors, the force of brushstrokes, and the mastery of image structure, Cen Long underwent years of practical testing, forming a distinctive painting style characterized by solemnity and solidity. With a simple mind and technique, he wove his ideal realm and used his brush to convey love and hope.

Cen Long often said that life is short, and existence is uncertain. The body has its limitations, but the radiance of sublimated humanity, expressed through artistic creation and sharing, becomes an eternal and indestructible spiritual asset. It dispels hostility, restores a sense of tranquility, and contributes to a peaceful society.

Animation Paves the Way, Good Karma Follows

Character modeling was Cen Long's favorite, and the character depictions he created were meticulously constructed, evolving into illustrations that blended more social teachings with aesthetic promotion.

Around the turn of the millennium, Cen Long made a trip to Japan, a place he grew fond of and stayed for over three years. During his time there, he not only visited various scenic spots and historical sites but also explored many art museums, absorbing Japanese culture and starting to create illustrations.

Having begun his artistic career early, with a mastery of technique that came from years of refinement, Cen Long's skill was evident. His work combined Eastern elegance with a carefully considered perspective, making good use of his quick brushstrokes, delicate detailing, and leaving behind numerous creations.

Simple, sincere, and full of rustic charm, these were the hallmarks of Cen Long's illustrations. They received high praise from Japanese publishing companies, and subsequent requests for illustrations poured in. One exceptional example is Cen Long's classical Chinese-style picture book "The Charcoal Seller." At that time, when paper was scarce in Luoyang, as he returned from Japan to China, international publishers followed suit, eagerly seeking his continued work.

Due to his dealings with international publishers, Lin Xuanhan, a cultural worker active overseas from Taiwan, became involved as Cen Long's translator. Fluent in Japanese and English, Lin not only facilitated the translation but also realized the depth of Cen Long's work and supported his quest to "prove himself" for his deceased father. Lin took on the role of Cen Long's art agent, managing responsibilities such as international exhibitions and academic discussions.

Lin Xuanhan didn't rest on her laurels. She began contemplating the critical issue of spatial representation in contemporary art. In 2009, she established the "Han Art Space" in Tainan, a city steeped in cultural history. Subsequently, she set up a gallery branch in New York, a city where space is at a premium.

After twelve years of dedicated effort, Lin Xuanhan has successfully promoted Cen Long's creations through art exhibitions, published essay collections, and participation in international art fairs. They often collaborated on important local events with significant guests, building friendly relationships with the local community.

Cen Long traveled from afar to participate in these events, meeting fans and collectors. Particularly noteworthy is Lin Xuanhan's use of her international curator connections and cross-city network support to elevate Cen Long's art to the Venice Biennale. This put Cen Long's art in the global spotlight alongside the prestigious Venice event.

The exhibition "Starry Sky—Cen Long and His Art" in 2019 at the Church of St. John of Malta in Venice, Italy, as part of the 58th Venice Biennale collateral events, garnered considerable attention.

In naming his published work "Follower of Light," Cen Long explicitly defined his self-positioning. He proclaimed, "I am just a painter." Cen Long emphasized that devoting himself to artistic creation was his life's calling. His subjects, including depictions of his life scenes, revolve around his personal experiences and emotional memories.

Faced with the upheavals and tragedies of a tumultuous era, national hatred, and family enmity, he sighed at the impossibility of keeping track of everything. His kind and gentle parents always stressed using kindness to overcome hatred, leaving a lasting impression on him.

Originally a teacher in the oil painting department of Hubei Academy of Fine Arts for many years, Cen Long eventually felt the urge to become a full-time artist. In 2004, he resigned from his teaching position, fully dedicating himself to artistic creation.

Looking back at Cen Long's over a century of smearing and creation, his style has evolved while also remaining unchanged. For instance, he favored realistic representations in his early years, aiming for lifelike figures as a personal challenge. However, as he aged, Cen Long transitioned to a subtractive approach to life, striving for simplicity. He delved into regional characteristics, de-formalizing figures, and focused on exploring the essence of art, especially emphasizing the exploration of human nature.

Love, Light, Hope, Dignity, and Value

And so, he painted love, painted light, painted hope, painted human dignity, and further painted the value of life. Here are several representative works he created:

1. Dream Soaring

This work reflects his long-standing thoughts on the hardships of his deceased father, reminiscing about the shattered dreams of the family that will never be.

Drawing inspiration from the Greek mythology of Icarus, who used wax-made wings to escape from the island of Crete, only to fall into the water and perish due to flying too close to the sun, Cen Long portrays a societal elite yearning for freedom. Using a makeshift parachute, he whimsically hopes to fly beyond boundaries and frameworks, pursuing his dream with a willingness to sacrifice everything.

2. Celebration of Life

A pregnant mother, with an open cloak, accepts a wildflower bouquet from a young boy. The natural affection between them is depicted with a gentle lamb by their side. Cen Long employs light and reflection techniques to create a sacred atmosphere, as if the mother is a Madonna descending to Earth, radiating a luminous warmth.

The combination of simplicity and complexity, meticulous strokes, and lines with attention to detail are evident. Using hard-bristle brushes and palette knives, Cen Long creates texture, emphasizing the rounded belly and rugged bare feet, resembling the authentic Earth Mother, profoundly touching and realistic.

3. Days of Wind

With an infinitely powerful human form against an abstract background, two sailors urgently hoist the sails before a storm. The bald man bending down exudes strength and resilience, portraying an unyielding head. Whether on a slippery ship deck or with two massive feet firmly grounded, or with four solid muscular arms gripping the ropes, it represents the culmination of strength, love, hope, and faith. The frozen moment resembles a monumental and ritualistic monument, declaring that human determination conquers all and courage is born in adversity.

4. Fields and Pastoral Song

A touch of azure, capturing the setting sun, depicts a village woman carrying a child with one hand and sowing seeds with the other. The tired elderly farmer and plowing ox silently tread the homeward path, embracing toil with a calm and unruffled demeanor. The swaying weeds in the wind portray a deep acceptance of a pastoral song of life.

Working from sunrise to sunset, connecting tranquility and peace, day after day, the hope lies in the seeds sown into the earth, taking root and perpetuating the ceaseless cycle of the universe. This timeless tradition is passed down from generation to generation.

5. You Beat Me, I Strike You

Depicting the transmission of Zen teachings between master and disciple, often symbolized by the ritualistic giving and receiving of robes and alms bowls. It metaphorically represents the passing down of thoughts, academia, and skills from master to disciple. This extends to family life—like the old blacksmith heating red-hot iron and the reciprocal strikes, symbolizing the hard work and wisdom in turning a rough iron rod into an embroidered needle. This craftsman's spirit and wisdom need to be passed down from generation to generation.

6. Climbing High, Looking Afar

Faced with a distant and challenging journey, a young girl, without a trace of fear but rather hesitation, departs. Her mother's admonition and father's advice echo in her ears: "Don't be afraid, child. Dad is in a distant land, watching over you."

Cen Long, who lost his father at the age of 9, carried the burden of wandering and loneliness for most of his life. He became accustomed to solitude and gradually embraced it. Whether in public or private, climbing high and looking afar, adapting to circumstances, and maintaining an optimistic and enterprising spirit.

However, on the endless journey, after enduring the wind and rain, he still cannot find the nest of familial warmth. It is the perplexity of his entire life and the poignant and painful memory etched into his bones.

The author is the president of the Collectibles Magazine.

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