Hsiao Chin spent his formative years in Europe experiencing the Western Modern Art movement. As a leading post-war Asian artist, he has contributed immensely to the development of avant-garde art and established himself prominently in the modern abstract movement in Asia. As a co-founder of Punto Movement in Milan during 1961-1966, Hsiao is the first and only post-war Chinese artist attempting to convey Eastern philosophical ideas and the concepts of mindfulness and self-contemplation in the Western pictorial language of abstraction. Hsiao’s works are not only artistic representations of Asian philosophy but, in a broader context, are an intellectualised expression of Asian ideas in their essential forms. The understanding of the entire post-war avant-garde art scene would not be complete without mentioning Hsiao Chin and the Punto Movement, along with American Abstract Expressionism, French Lyrical Abstraction, and Japanese Gutai.This book records 13 Punto exhibitions, which demonstrates Hsiao’s contribution to the international cultural realm throughout his artistic career. Included here are in-depth articles on Hsiao‘s historical significance in the twentieth century. The book also introduces his iconic oeuvres over the last six decades; work that reconciles Eastern and Western art prospects.

Contemporary Chinese art has played a significant role in contributing to art globalisation; meanwhile, the trajectory of modernisation of art in China has not been rendered explicitly.This book aims to explore the context of Chinese art from the 20th to the 21st century, from three aspects: society, the individual and art forms. It is hoped to inject new vitality into the current obscure art historiography. The complicated issue regarding how to position globalisation and national identity is well discussed throughout the book, addressing the hardcore research questions in the field.This research selects the nine most representative artists: Lin Fengmian, Wu Dayu, Sanyu, Zao Wou-ki, Wu Guanzhong, Su Tianci, Wang Jieyin, Zhang Enli and Chen Yujun.

The book portrays the journey of artist Xie Shan, who dedicated his life to painting despite suffering from cornea thinning (keratoconus), auditory hallucinations and congenital schizophrenia.As a self-taught artist, Xie Shan’s exploration was purely based on visual experience. As a result of a rare sight condition and a cornea transplant in his early 20s, he attempted to capture subject matter with brilliant colour and extraordinary plasticity on canvas. Xie Shan had a challenging career path but remained resilient and persisted through the difficulties. His art style and sensibility go against the conventions of the modern art world, making his work original and unique. The book’s visual and narrative potential make it a contemporary revelation of the myth of being a painter.

The book shows Yin Zhaoyang’s 12-year retrospective on the series ‘Mount Song’. Yin Zhaoyang is a celebrated contemporary Chinese artist who gained fame in the 1990s for his figurative paintings that depicted people’s psychological struggles during social changes in China. In 2008, he embarked on a new landscape project, with Mount Song as the subject matter. Although landscape art, or Shanshui, has a long history in Chinese art, Yin brought a new spirituality to it that went beyond traditional literati art. His ‘Mount Song’ series is a new topic called Shanhe, where geography and topology are intertwined with contemporary temperament. This echoes Yin’s portraits, which visualise the agitation in nature and culture.

The book features dream-space photo collages created by Xu Xiaowei. By combining visual representations of objects and places with ready-made images that randomly appear and disappear in contemporary Chinese society, the artist reinvents his memories. The artwork reflects the personal turmoil experienced in the face of rapid changes in Chinese society. Through non-linear and fragmentary stories that unfold in a dystopian fantasy world that is both pre-modern and post-industrial, the artist tries to convey this agitation. Using reconstructed photographs, the artist constructs a space of memory that lies somewhere between the tangible and the absurd.

The Muya collection is focused on a selection of significant ceramic masterpieces that demonstrate the evolution of technology and art in China. These masterpieces were previously housed in well-known private institutions such as Meiyintang, Xiaoyazhitang, Alfred Clark, Frank Caro, John Bodie and others. Many of these pieces were featured in prominent public exhibitions and extensively documented in dedicated catalogues. The book showcases eighty ceramic masterpieces from the Muya collection, accompanied by articles and detailed descriptions. These provide insight into the characteristics of Chinese ceramic art and offer accurate records of their provenance. The aim of the book is to shed new light on cross-media cultural history and emphasise the global significance of Chinese ceramic art, a cultural heritage that has captivated the world. It is a testament to the rich and diverse cultural heritage of China, something that all can take pride in and appreciate.

Fan Zhen is an abstract painter whose art centres on the therapeutic colour field and energy expansion. Her visual creations strongly echo Daoism and Buddhism, which are mysterious yet existentialist. The paintings attempt to grasp the fleeting moments in life and engage the audience directly with purity, blurring the ephemeral and the eternal.Although abstract art in Western senses has exhausted inspiration regarding formal languages and theories, Eastern philosophical thinking, exempt from the modern/postmodern dichotomy, offers new ways of examining the entity of art and life.As a female artist living in China, Fan Zhen endeavoured to convey her art to a much wider audience, with concerns referring but not limited to gender, class, power and ethics.Fan Zhen’s art stems from traditional Chinese culture and adopts a contemporary temperament with the need for counter-anxiety caused by rapid change in society. Daoism and Buddhism, as philosophical contexts, have generated a great heritage of visual language that differs from Western abstract art. The book explores Fan Zhen’s art, validating the value of life and faith in vision.

This book is a comprehensive collection and exhibition of Chen Yujun’s art, thoroughly introducing the artist’s creative philosophy, origins and stylistic changes to readers in the English-speaking world. With the theme of growth, Chen’s art explores the mutual influence and intertwining of individuals, society, regions and civilisations, innovating and evolving through the exchange of civilisations.The book will accompany Chen Yujun’s retrospective solo exhibition, which will be held at the Long Museum in Shanghai in the summer of 2025.

The Cultivation of Art: Understanding Cultures in UK–China Exchange Programmes explores the evolving relationship between art, education, and cultural exchange between China and the United Kingdom in the twenty-first century. Through exhibitions, institutional collaborations, and dialogues between artists, scholars, and audiences, the book traces how artistic exchange has become a vital space for mutual learning in an increasingly interconnected world.Combining art history, contemporary criticism, and reflections on aesthetics and education, Joshua Gong and Ding Yi examine how artistic forms, ideas, and cultural identities are reshaped through encounter. From the legacy of the China Trade and post-colonial cultural systems to contemporary museum practice and global exhibition culture, the book reveals how art operates not only as a form of representation, but also as a means of cultivating understanding, imagination, and shared human values.The book discusses exhibitions and exchanges involving institutions including the British Museum, the Institute of Contemporary Arts (ICA) London, the Ashmolean Museum at the University of Oxford, Downing College at the University of Cambridge, the Shanghai Museum, the Long Museum, the West Bund Art Museum, the Yinchuan Museum of Contemporary Art, and the CAFA Art Museum. Featured artists include J.M.W. Turner, George Chinnery, Antony Gormley, Zhang Enli, Wang Dongling, Fang Lijun, and Sui Jianguo, among others.Thoughtful, interdisciplinary, and humanistic in outlook, The Cultivation of Art offers an important contribution to contemporary art history and to ongoing conversations about cross-cultural dialogue in a globalised age.

Hsiao Chin spent his formative years in Europe experiencing the Western Modern Art movement. As a leading post-war Asian artist, he has contributed immensely to the development of avant-garde art and established himself prominently in the modern abstract movement in Asia. As a co-founder of Punto Movement in Milan during 1961-1966, Hsiao is the first and only post-war Chinese artist attempting to convey Eastern philosophical ideas and the concepts of mindfulness and self-contemplation in the Western pictorial language of abstraction. Hsiao’s works are not only artistic representations of Asian philosophy but, in a broader context, are an intellectualised expression of Asian ideas in their essential forms. The understanding of the entire post-war avant-garde art scene would not be complete without mentioning Hsiao Chin and the Punto Movement, along with American Abstract Expressionism, French Lyrical Abstraction, and Japanese Gutai.This book records 13 Punto exhibitions, which demonstrates Hsiao’s contribution to the international cultural realm throughout his artistic career. Included here are in-depth articles on Hsiao‘s historical significance in the twentieth century. The book also introduces his iconic oeuvres over the last six decades; work that reconciles Eastern and Western art prospects.

Contemporary Chinese art has played a significant role in contributing to art globalisation; meanwhile, the trajectory of modernisation of art in China has not been rendered explicitly.This book aims to explore the context of Chinese art from the 20th to the 21st century, from three aspects: society, the individual and art forms. It is hoped to inject new vitality into the current obscure art historiography. The complicated issue regarding how to position globalisation and national identity is well discussed throughout the book, addressing the hardcore research questions in the field.This research selects the nine most representative artists: Lin Fengmian, Wu Dayu, Sanyu, Zao Wou-ki, Wu Guanzhong, Su Tianci, Wang Jieyin, Zhang Enli and Chen Yujun.

The book portrays the journey of artist Xie Shan, who dedicated his life to painting despite suffering from cornea thinning (keratoconus), auditory hallucinations and congenital schizophrenia.As a self-taught artist, Xie Shan’s exploration was purely based on visual experience. As a result of a rare sight condition and a cornea transplant in his early 20s, he attempted to capture subject matter with brilliant colour and extraordinary plasticity on canvas. Xie Shan had a challenging career path but remained resilient and persisted through the difficulties. His art style and sensibility go against the conventions of the modern art world, making his work original and unique. The book’s visual and narrative potential make it a contemporary revelation of the myth of being a painter.

The book shows Yin Zhaoyang’s 12-year retrospective on the series ‘Mount Song’. Yin Zhaoyang is a celebrated contemporary Chinese artist who gained fame in the 1990s for his figurative paintings that depicted people’s psychological struggles during social changes in China. In 2008, he embarked on a new landscape project, with Mount Song as the subject matter. Although landscape art, or Shanshui, has a long history in Chinese art, Yin brought a new spirituality to it that went beyond traditional literati art. His ‘Mount Song’ series is a new topic called Shanhe, where geography and topology are intertwined with contemporary temperament. This echoes Yin’s portraits, which visualise the agitation in nature and culture.

The book features dream-space photo collages created by Xu Xiaowei. By combining visual representations of objects and places with ready-made images that randomly appear and disappear in contemporary Chinese society, the artist reinvents his memories. The artwork reflects the personal turmoil experienced in the face of rapid changes in Chinese society. Through non-linear and fragmentary stories that unfold in a dystopian fantasy world that is both pre-modern and post-industrial, the artist tries to convey this agitation. Using reconstructed photographs, the artist constructs a space of memory that lies somewhere between the tangible and the absurd.

The Muya collection is focused on a selection of significant ceramic masterpieces that demonstrate the evolution of technology and art in China. These masterpieces were previously housed in well-known private institutions such as Meiyintang, Xiaoyazhitang, Alfred Clark, Frank Caro, John Bodie and others. Many of these pieces were featured in prominent public exhibitions and extensively documented in dedicated catalogues. The book showcases eighty ceramic masterpieces from the Muya collection, accompanied by articles and detailed descriptions. These provide insight into the characteristics of Chinese ceramic art and offer accurate records of their provenance. The aim of the book is to shed new light on cross-media cultural history and emphasise the global significance of Chinese ceramic art, a cultural heritage that has captivated the world. It is a testament to the rich and diverse cultural heritage of China, something that all can take pride in and appreciate.

Fan Zhen is an abstract painter whose art centres on the therapeutic colour field and energy expansion. Her visual creations strongly echo Daoism and Buddhism, which are mysterious yet existentialist. The paintings attempt to grasp the fleeting moments in life and engage the audience directly with purity, blurring the ephemeral and the eternal.Although abstract art in Western senses has exhausted inspiration regarding formal languages and theories, Eastern philosophical thinking, exempt from the modern/postmodern dichotomy, offers new ways of examining the entity of art and life.As a female artist living in China, Fan Zhen endeavoured to convey her art to a much wider audience, with concerns referring but not limited to gender, class, power and ethics.Fan Zhen’s art stems from traditional Chinese culture and adopts a contemporary temperament with the need for counter-anxiety caused by rapid change in society. Daoism and Buddhism, as philosophical contexts, have generated a great heritage of visual language that differs from Western abstract art. The book explores Fan Zhen’s art, validating the value of life and faith in vision.

This book is a comprehensive collection and exhibition of Chen Yujun’s art, thoroughly introducing the artist’s creative philosophy, origins and stylistic changes to readers in the English-speaking world. With the theme of growth, Chen’s art explores the mutual influence and intertwining of individuals, society, regions and civilisations, innovating and evolving through the exchange of civilisations.The book will accompany Chen Yujun’s retrospective solo exhibition, which will be held at the Long Museum in Shanghai in the summer of 2025.

The Cultivation of Art: Understanding Cultures in UK–China Exchange Programmes explores the evolving relationship between art, education, and cultural exchange between China and the United Kingdom in the twenty-first century. Through exhibitions, institutional collaborations, and dialogues between artists, scholars, and audiences, the book traces how artistic exchange has become a vital space for mutual learning in an increasingly interconnected world.Combining art history, contemporary criticism, and reflections on aesthetics and education, Joshua Gong and Ding Yi examine how artistic forms, ideas, and cultural identities are reshaped through encounter. From the legacy of the China Trade and post-colonial cultural systems to contemporary museum practice and global exhibition culture, the book reveals how art operates not only as a form of representation, but also as a means of cultivating understanding, imagination, and shared human values.The book discusses exhibitions and exchanges involving institutions including the British Museum, the Institute of Contemporary Arts (ICA) London, the Ashmolean Museum at the University of Oxford, Downing College at the University of Cambridge, the Shanghai Museum, the Long Museum, the West Bund Art Museum, the Yinchuan Museum of Contemporary Art, and the CAFA Art Museum. Featured artists include J.M.W. Turner, George Chinnery, Antony Gormley, Zhang Enli, Wang Dongling, Fang Lijun, and Sui Jianguo, among others.Thoughtful, interdisciplinary, and humanistic in outlook, The Cultivation of Art offers an important contribution to contemporary art history and to ongoing conversations about cross-cultural dialogue in a globalised age.