Zhu Wei

signed ZHU WEI, titled, inscribed, and with six seals of the artist and two pictorial seals

Plum Blossoms Gallery, Hong Kong

ZHU WEI Diary, Plum Blossoms (International) Ltd., Hong Kong, 2000, p. 232

Overall in good condition
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An anxious, restless mood pervades society as we approach the end of a century. Some unfortunate things are caused by man, some by fate (I don’t know). All we can do is go along with it – it’s the only solution because there is no solution. By Zhu Wei

The Political Pop and Cynical Realism movements within Chinese art in the 1990s are characterized by raucous, aggressive mockery and profane ridicule of societal atrocities and absurdities. While coming from the same politically estranged era, Zhu's whimsical satires and daring intellectual commentaries embody a uniquely tender flavor even as he confronts the harsh irrationalities of life. In contrast to his contemporaries in the Chinese contemporary art scene who regard oil painting as more conducive to explicit, subversive expression, Zhu stayed steadfast to the traditional medium of ink painting. His choice of the classical Chinese brush and rigorous gongbi ("meticulous brushwork) style provides a stark juxtaposition between traditional techniques and contemporary political motifs.

A visual diarist and chronicler of the everyday, Zhu paints with penetrating clarity and vision, mastering the complexities and ironies of social and political life with sharp wit and gentle humor. Possessing a profound understanding of humanity, Zhu's honest, insightful portraits of China display not just a critical irreverence for power but also deep empathy for the lower classes of society. Furthermore, his personal experience in the People's Liberation Army lends his military characters a unique dignity: while he at times mocks their egoless submission to power, often they are used as the archetypical figure allegorizing the noble spirit of human struggle.

Pictures of the Strikingly Bizarre—Hand-Washing Ritual is emblematic of Zhu's layered, metaphor-laden works. Created in 1994, a year during which the artist pursued multiple creative paths simultaneously, Zhu's Strikingly Bizarre series references the famous vernacular short stories ni huaben ("imitation story scripts") from the Ming dynasty (1368–1644). Appropriating the title of these renowned folk tales, Zhu tells contemporary stories through his paintings, suggesting that what is happening today resembles what once happened in history.

In addition to the ni huaben reference, Hand-Washing Ritual pays specific tribute to two well-known historical paintings: the Tang dynasty (618-907) magnum opus Banquet and Concert (anonymous) and the early 12^th century painting Literary Gathering inscribed by Emperor Song Huizong. In contrast to the solemnity of these ancient masterpieces, which depict aristocratic assemblies and exclusive, elite literary congregations, Zhu's playful diptych is mischievous and inquisitive. Portraying a fictitious gathering of characters from various social strata that could never happen in real life, Zhu alludes to the joint ritual of washing hands before a meal, combining imagination with irony to express his displeasure about social segregation. Only rarely does Zhu Wei include inscriptions in his paintings—in this exceptional piece, however, the top inscription declares the work to be possibly the last in the Strikingly Bizarre series, while the bottom professes a resigned pessimism about the chaotic state of society at the impending turn of the century.

Zhu employs a muted, earth-toned palette that contributes to a nostalgic atmosphere, while his mastery of ink washes creates unique pictorial transparency and radiant surfaces reminiscent of aged silk. Mounting the panels on vermilion colored silk, Zhu integrates the glaringly brilliant red border into the organic color composition of the painting. Such an inventive and daring use of color, emblematic of Zhu's highly successful 1994 experimental phase, demonstrates his acute sensitivity to both aesthetics and political symbolism. The work is stamped with Zhu Wei's shen pin ("masterpiece") seal—one he reserves for only his finest creations.