Introduction to Chen Shu-Ren’s Life and Works

Au Ho-Nien

Chen Shu-ren was born in Panyu, Guangdong in 1884. He had been immersed in painting since childhood and learnt from Ju Lian in Geshan at the age of seventeen. The Ju’s expertise in traditional techniques and his emphasis on sketching had helped Chen and the other two painters Gao Jian-fu and Gao Qi-feng to lay solid foundations to their painting skills. Ju Lian liked Chen very much and married his grandniece Ju Rowen to him. At the time the Qing government was experiencing political turmoil both domestically and externally. A patriot, Chen promoted the revolution secretly apart from his studies by writing about politics in the press in Guangzhou and Hong Kong. In 1905, he joined the Revolutionary Alliance after he, Chen Shao-bai and Huang Shi-zhong met Sun Yat-sen in Hong Kong on Sun’s way from the U.S. to Japan. Impressed by Chen’s intellects and views, Dr. Sun invited him to help with the alliance in Japan; he was also enrolled in the Department of Painting at Kyoto Art Academy from 1908 to 1912. After the establishment of the Republic of China, Chen returned to China to teach painting at Guangdong Advanced Teachers’ School and Guangdong Senior High School. Then he went to Japan again to study world literature and graduated from the Department of Literature at Rikkyo University in Tokyo. His study in Japan involved art and literature for more than ten years.

After returning to China, Chen spent most of his time following Sun in revolutionary missions. When Yuan Shikai attempted to become the emperor of China, Chen was slandered by Yuan’s friction and imprisoned. Despite his imprisonment, Chen recited poetry in the prison, which demonstrated his calmness and courage. In the Summner of 1922, with Chen Jiong-ming’s coup, Sun Yat-sen (1878-1933) had to seek refuge on-board the Yongfeng Warship under extremely dangerous circumstances. Chen Shu-ren returned from the U.S. to meet Dr. Sun on board the ship despite the dangers. His righteous, just and courageous character was much admired by people. 

Even though he was a senior official, Chen lived a simple and intellectual life. He was kind, generous and gentle. He was very dedicated to the arts. Regarding his views on painting, he urged for the departure from traditional styles by innovating. However, his paintings reveal a hint of scholarly elegance in traditional Chinese culture. He emphasized the importance of sketching, pointing out that “sketching is the foundation of painting. A painting done with no experience in sketching is equal to a building without foundation.” The point he made here addressed the problem of imitating in the Chinese painting circles at the time. He also said, “Poetry, literature, calligraphy and paintings can show their creator’s character. The most important thing of admirable artwork is to show character, while the technique should come second.” This is a further idea he had on painting. Accordingly Chen indeed promoted “virtue-based” arts because he emphasized the ideas of “prioritizing virtue” and that “a gentleman should have morals first, then artistic taste” in Chinese culture.

Chen died suddenly from stomach diseases on October 4, 1948 at the age of sixty-five. He was the author of Collection of Shuren’s Paintings (three volumes), Sketches of Gueilin (one volume) and books including Focused Love, Dirt of Battles, Cold Greenness, Ode to Natural Beauty. He promoted the Lingnan School, which has many followers and has become a well-established school of painting. In addition, his grandson Chen Dingzhong inherited his legacy and is now professor of art in universities in the U.S. and Canada. Professor Chen successfully sustains the family tradition by devoting himself to Chen Shuren’s moral and other principles.

The three masters described above had never stopped their artistic pursuits. Despite different personal approach, they shared a serious and passionate attitude towards art. Although they had all passed away, their legacy of innovation and creativeness have made far reaching influences. In the developmental process of Chinese paintings, a splendid new page had been turned by them and they had become great examples for future Chinese painters to continue to break new grounds.