Modern watercolor painting had originated in Europe and was introduced to China over a century ago. While it differs from traditional Chinese ink painting in basic technique and concepts, the two styles incorporate many of the same painting tools and methods. As a result, watercolors soon became popular among Chinese artists and Chinese people. More than 100 years of experimentation and practice in watercolor painting have made it one of the most popular art forms in China.

In recent years the artistic ability and global scope of China's watercolor painting has developed remarkably and many talented artists have made their mark around the world. Their paintings feature diverse forms and a wide range of subjects, and have profound connotations. These works have been exhibited throughout the country and the world to accurately portray the realities of modern-day China. These artists have made major breakthroughs in painting concepts as well as technique -- from a single concrete and realistic approach to a variety of artistic expressions using exaggeration, transfiguration, decoration and abstraction.

Chinese watercolor painting is a natural blend of both Western and Chinese art traditions. It crosses the boundaries of both eastern and western art, and is enjoyed by people in all parts of the world.

Although contemporary Chinese watercolor painters still favor traditional subjects, in the past decade or so there has been a new development trend. Instead of the ancient flat picture plane, many new artists employ the Western three-dimensional perspective in their works.

In their works, these artists aspire towards a decidedly romantic overall feeling: There is calmness in these paintings that Western artists seldom achieve. Chinese watercolor artists are highly trained graduates from leading art academies in China. Most of them have studied for a decade or more, and many have held or still hold teaching positions at these institutions. In China, being a highly regarded artist or teacher is a great honor.

Yang Ruifen, Wang Fu Sheng and Zhang Guizen are some of China's most talented watercolor artists.

An artist's favorite

Artists have favored watercolors for their luminous transparency since medieval times when they were widely used to illuminate manuscripts. Modern watercolors are a complex mix of pigments and ingredients that glide smoothly over paper when mixed with water; and since they are water-soluble, they are relatively easy to clean.

Due to their light effects, many famous modern artists often choose watercolors as the preferred medium when traveling or exploring the great outdoors. But modern watercolorists don't just paint landscapes and cityscapes: As many American painters have discovered, the subtle light effects achieved with watercolors can help capture the nuances of abstract and still-life compositions.

Watercolors are perhaps the most efficiently portable medium: Each tiny tube or dried cake (called a pan) of watercolors packs a surprising large quantity of rich, vibrant colors. Watercolor artists don't need canvases or wooden panels, either: They usually paint on special paper made from linen rags.

Development in China

The 1930s was an extraordinary period in China that produced many schools of thought and many outstanding scholars and talents. It was during this period that the first climax of Chinese watercolor paintings took shape.

Watercolor painting, which originated in Europe in the 15th century, developed into an independent branch of painting in the 18th century in England. It is still a popular art form in the West today. Most Chinese artists who studied art in Europe and Japan in the 1930s were also proficient in watercolors. Lin Fengmian, Pang Xunqin and Liu Jintang were among the most renowned masters of the time. Most painters of the period were not only skillful artists, but also scholars with a broad vision, engaging in high pursuits. Even today, their works are still considered very inspirational.

The 1950s witnessed the second climax of watercolor painting in China, centering in Shanghai. Fan Mingti, Li Ximing, Sheng Roujian, Zhang Chongren, Li Jianchen and many others were all famous for their watercolor works.

The third wave of watercolor painting occurred in the 1980s. During this period, with numerous watercolor painters and frequent watercolor painting exhibitions, a national watercolor painters association was founded. During this period, watercolor painting reached unprecedented popularity and success.

Jiang Zhinan: Impressions of light and shadow

Jiang Zhinan entered the field of watercolor painting in the 1990s. In 1991, his painting "Sea" was displayed at the Watercolor Paintings Exhibition in Beijing for the first time, receiving favorable critiques. In 1992 Jiang was invited to exhibit his "Kangling Stone Tablet" in Taiwan at the First Exhibition of Works by the Renowned Mainland Watercolor Painters. His works were frequently displayed in the following years, and he gradually established his academic status in the field of Chinese watercolor painting.

As a major the art of dyeing, Jiang graduated from the Central Academy of Arts and Design. Before the advent of computers, dyed designs were executed solely by hand, using "gouache" or watercolors. This training provided Jiang with a good foundation for mastering watercolors.

Jiang's watercolors can be divided into three stages. The first stage consists mainly of sketches from daily life, where subjects include rice fields, flowers, village scenes, his wife and her cat. All though such themes may appear to be random they are all close to his heart. This stage has two characteristics: One is Jiang's respect for light (using warm colors he creates a sense of intimacy in life) and the second is his careful brushwork (Jiang uses the natural veins of objects as a medium to establish the visual order of his paintings). These concrete images transmit a certain sense of abstractness. It is this abstract quality that appears to be the real backbone of the structural logic of Jiang's pictures.

In the second stage, Jiang painted the "Bicycle Series." Like all of his works, these paintings are characterized by "leaping" and shimmering lights. Objects and their shadows reflect one other and it is difficult to differentiate between the components of the main part of a picture. In fact, the bicycles are nothing but a medium since the order of pictures is abstract. This was a breakthrough for Jiang -- to go from imitating concrete objects to expressing the logical order of his inner mind. His strokes became more fluid and lively, but still forceful and more compatible with the nature of watercolors.

In the third stage, Jiang painted what he witnessed in Europe when he was studying in Paris. Although he only reproduced the actual scenes before him to keep the memory alive, his choice in subjects reveals more reason and rationality in the structure of his pictures and color tones than in his earlier works. More importantly, the spiritual aspect of the scenes became the first thing that Jiang aspired to portray. Unlike the works in the first stage, here, Jiang achieves an even better mastery of technique, coordination of hands and mind, and the integration of scenes and feelings, where his hands reflect his mind and the scenes integrate feeling.

Light is very important to Jiang's watercolors. It is not only a medium, but also a goal for the artist. Many watercolor fans respect Jiang's sensitivity to light and are shocked by his bold and spiritual treatment of light. For Jiang, light is not only a necessity of life but also a belief.

Jiang regards watercolor painting as a life-long career, which is not easy since traditional Chinese painting and oil painting are considered the mainstream of art in China today. It requires great courage and confidence to find a place beyond the mainstream.