Foreword by Jin Shangyi

　　Since the beginning of the 20th century, tremendous changes have taken place in the history of Chinese culture and a new framework has been forged along with the introduction of Western learning into the country, as well as with the occurrence of the May 4th Movement in 1919. After the Hundred Days’ Reforms in 1898 and the Revolution of 1911, patriotic young people had embraced the ideal of saving the nation from extinction to make it more powerful. They went to study abroad, seeking advanced scientific and cultural spirits. Some pioneering artists, through rigorous hardships, brought back to China oil painting art that embodies the European cultural spirit. During the Ming Dynasty when Emperor Wanli was on the throne (1573-1620), expatriate missionaries began bringing oil paintings into the country. However, China opened its own art school just one hundred years ago.

　　The vanguards of Chinese oil painters mostly went to study in France, the United States or Japan at the beginning of the 20th century. In the 1950s, more young students studied at art schools in the then Soviet Union. Meanwhile the Chinese government also invited overseas painters to teach in art schools nationwide. A more formal system of teaching and studying had been established and with numerous art talents getting trained, oil painting art had developed more rapidly. Due to political and economic situations and cultural demands, traditional European oil paintings with a realistic style were widely accepted by the Chinese public. At the end of the 1970s, after introspection of the “cultural revolution,” China started to implement its reforms and opening-up policies. Along with frequent cultural exchanges with other nations, Western modern cultural trends have landed in the country. Chinese artists now have been endowed with broader artistic horizons and new aesthetic ideas. A new developing tendency that integrates multi-elements of traditional arts with modern pursuits has come into play and the Chinese oil painting circle presents a colorful visage.

　　The 20th century witnessed Chinese artists introducing and learning Western oil painting art, embedding it into Chinese concepts that has taken root and grown up. For the development of Chinese oil painting, this should be considered a process of collision and integration of diverse cultures, as well as self-exploration and creation.

　　Macroscopically, Chinese oil painting art, as a vein of the artistic form, faces from the very beginning the complicated interweaving and mingling of Western and Eastern cultures. While learning about European oil painting art, Chinese painters incorporate it into the local culture. Nevertheless, European oil painting has survived more than 600 years of changes and developments, and Chinese culture has enjoyed a long history to face the tremendous challenges of transforming from a traditional era to modern age. How can one render such an imported art with a distinct local touch and add their own national flavors? How to apply it to reflect local people’s spiritual world as a theme for Chinese artists to think about and explore? Such a pursuit stimulates their boundless creative vigor. Nowadays, Chinese oil painters are working with unremitting efforts to accomplish their professional goals. As a payoff, diversified and colorful flowers are blooming in the oil painting field.

　　Thanks to the devotion of several generations of oil painters, national oil painting art has become an important component of contemporary culture. Hundreds of thousands of artists and avid supporters have dedicated themselves to oil painting art, while more flourishing growth can be expected.

　　The 2012 China Oil Painting Art Exhibition was held in London during the London 2012 Olympic Games. It gained support from related art departments of China and the United Kingdom. All exhibited paintings were masterpieces created by influential Chinese artists of three generations. The works reflected their feelings on daily life in today’s world, as well as their cultural pursuits. We felt grateful for the host of the Games, since they granted us an opportunity to show Chinese oil paintings that displayed local features and aesthetic charms to the British public on such an important occasion.

　　Such an exhibition has promoted a better understanding of Chinese contemporary culture. We intend to make greater contributions to enhance more friendship between the Chinese and British people.

　　Jin Shangyi

　　Former president of the Central Academy of Fine Arts

　　Former president of China Artists Association

　　Curator of Beijing Guozijian Oil Painting Art Museum