Read Spring and Autumn In Cold Nights

One day I asked Rongsheng “what is ‘putting new literary content into painting’?” 

he said “The literati painting in each era has new contents. I join in the art exhibition as it comes. Firstly, the exhibition is held in Fuzhou; secondly, I acquainted with the artists when I study in Nanjing Arts Institute. So we invited each other to join in. The title of the exhibition is not important for me.”

Since he is an artist, he doesn’t care how others interpret the exhibition title and how they verify it from the exhibited works. Let alone the term‘putting new literary content into painting’is bestowed by theorists.  He just broke in halfway and needn’t care about it. However, I don’t understand how he finds his own perfect solution from the independent situation between green and ink, fine brushwork and free brushwork to promote the profound culture of Chinese painting with modern ideas and experience, surpassing conventional thinking as a result of traditional techniques.

Rongsheng told me, he did not give a thought to that.