A Conversation with Artist Li Jun, "Purple Air Coming from the East", Renmei Art Museum, by James Scarborough

Li Jun's exhibition "Purple Air Coming from the East" reveals an artist who's found his voice through persistent evolution and deep connection with nature. Starting with traditional foundations learned from his father and formal training under masters Chen Dayu and Xu Peichen, Li Jun's journey hasn't been a straight line. He struggled, as many artists do, to find an artistic language that truly expressed his inner nature.

Throughout this journey, he transformed wisteria from a subject into a conversation between himself and the natural world. You can see this dialogue playing out in his brushwork. Sometimes it’s cursive; sometimes it winds through the vines; seal script here, official script there in the branches. He has sought - and achieved - a perfect marriage between technical skill and personal expression.

His paintings capture spring's gentleness with what Guo Xi called "mountains gentle and smiling." Sometimes the purple flowers fall like stones; sometimes sometimes they float like clouds. This isn't accidental. It's a carefully cultivated aesthetic that balances elegance with freshness.

Despite his accomplishments, he continues to grow, hoping to make work that's "more bookish, contemporary and personalized." This exhibition wasn’t an endpoint but a milestone in an ongoing artistic journey worthy of our attention.

Below follows an email conversation with Li Jun.

JS 1：Your artistic journey began with learning from your father and studying the Mustard Seed Garden Painting Theory. How did these early foundations shape your approach to traditional Chinese painting. What elements from those teachings still appear in your current work?

LJ 1：首先感谢您的专访！我小时候经常看到父亲在书房里阅读《芥子园画谱》，写写画画特别安静，这引起了我对传统书画文化的兴趣。有一次我趁父亲外出，在他未完成的化作上补笔画了起来。父亲回来看到后并没有批评我，反而鼓励我：“很好！继续画。”。他辅导我开始临摹古法，从此一花一木，一山一水进入我的幼稚的笔墨世界。父亲严谨治学的精神和扎实沉稳的笔触依旧保留的我的创作中。

First, thank you for this interview! As a child, I often watched my father reading the Mustard Seed Garden Painting Manual in his study, writing and painting in quiet concentration. This sparked my interest in traditional calligraphy and painting. Once, while he was away, I added brushstrokes to an unfinished work of his. When he returned, instead of scolding me, he encouraged me: "Good! Keep going." He then guided me to begin copying classical techniques, and from then on, flowers, trees, mountains, and streams entered my fledgling ink-and-brush world. My father’s rigorous scholarly spirit and his steady, grounded brushwork continue to resonate in my creative practice today.

JS 2：You've studied under such masters as Chen Dayu and Xu Peichen. Each has their own distinctive styles. How did you navigate between these different influences? At what point did you realize you needed to develop a more personal artistic language?

LJ 2：导师陈大羽先生是著名大写意花鸟画大师。我的紫藤画就是吸取了先生大写意花鸟的豪放个性风格特征。导师徐培晨教授的中国画山水、人物、花鸟俱佳，尤其精于猿猴画。他在观察我的紫藤画时，偶尔会在恰当的位置补上灵猴，使整个作品更具有生机和活力。在大师们的指导下，我学习到了不同的绘画技巧和艺术理念。我逐渐意识到，要形成自己独特的艺术语言，必须将这些影响内化并结合自己的感受。

My mentor, Mr. Chen Dayu, was a renowned master of bold freehand flower-and-bird painting. My wisteria paintings absorbed his unrestrained, expressive stylistic approach. Professor Xu Peichen, another mentor, excelled in Chinese landscape, figure, and flower-bird painting, with particular mastery in depicting monkeys. While reviewing my wisteria works, he would occasionally add playful monkeys in precisely balanced positions, infusing the entire composition with renewed vitality. Under these masters’ guidance, I mastered diverse techniques and artistic philosophies. Gradually, I came to realize that developing a distinct artistic voice required me to internalize and synthesize these influences with my own sensibilities. It was when my brush began instinctively blending Chen’s boldness, Xu’s dynamism, and my contemplative connection to nature that this integration became the cornerstone of my artistic identity.

JS 3：Your decision to focus on wisteria as a primary subject seems pivotal to your artistic development. What qualities of this plant initially attracted you? How has your relationship with depicting wisteria evolved over the years?

LJ 3：紫藤通常被赋予多种积极内涵。紫藤藤蔓相互交织、攀爬向上，象征着团结协作，彼此依靠共同努力向上发展；紫藤花盛开时花朵密集、繁花似锦，展现出蓬勃的生命力和对美好事物的不懈追求；同时，紫藤花期相对较长，历经一定时间绽放美丽，寓意着坚韧不拔、持之以恒的精神，在面对困难和时间考验时，依然能保持自身的美好与活力 。她的柔美和生命力深深吸引了我。随着时间的推移，我对紫藤的理解和表达也逐渐深化，它成为了我艺术探索的象征。

Wisteria is often endowed with various positive connotations. The plant’s intertwined vines climbing upward symbolizing unity, interdependence, and collective growth. When in full bloom, the flowers are dense and splendid, demonstrating exuberant vitality and an unremitting pursuit of beauty. At the same time, the relatively long flowering period of wisteria, which blooms over a certain period of time, implies tenacity and perseverance. Even in the face of difficulties and the test of time, it can still maintain its beauty and vitality. Her grace and vitality have deeply attracted me. As time goes by, my understanding and expression of wisteria have gradually deepened, and it has become an emblem of my artistic exploration.

JS 4：The exhibition title "Purple Air Coming from the East" evoked powerful imagery. Explain the significance of this title. How does it relate to the work that was presented at the Renmei Art Museum?

LJ 4：“紫气东来”寓意着吉祥和希望，它反映了我作品中对自然和谐之美的追求。人民美术出版社是中国美术界的学术编辑与出版和展示基地，在人美博物馆展出我的紫藤画作品，更体现了文化和自信，也得到艺术界同仁的指导性建议和意见，“紫气东来”这一主题才能够得到了充分的体现。

The exhibition title carries profound cultural resonance. The phrase "Purple Qi Coming from the East" symbolizes auspiciousness and hope, and it reflects my pursuit of the beauty of natural harmony in my works. People's Fine Arts Publishing House is an academic editing, publishing and exhibition base in the Chinese art world. The exhibition of my wisteria paintings at the People's Fine Arts Museum (Renmei Art Museum) not only demonstrates cultural confidence but also has received guiding suggestions and opinions from colleagues in the art circle, allowing the theme of "Purple Qi Coming from the East" to be fully expressed.

JS 5：Your brushwork techniques vary considerably: cursive, seal script, like "falling stones" or "light clouds." Walk us through your technical decisions when approaching a new wisteria painting.

LJ 5：每次创作时，我都会根据紫藤的形态和我想要表达的情感来选择合适的笔法。关于书法用笔，“坠石”“轻云”的诠释,正是中国古代谢赫六法的“骨法用笔”的实现。也是道教文化阴阳虚实的体现，这种选择是创作过程中直觉的迸发,也是与长期实践经验的结合。

Each time I create, I choose the appropriate brushwork based on the form of the wisteria and the emotions I want to convey. Regarding the use of brushwork techniques, the interpretation of "falling stones" and "light clouds" is precisely the realization of the "bone method of brushwork" in the ancient Chinese Six Principles of Xie He. It also reflects the yin-yang and virtual-real concepts of Taoist culture. This choice is an intuitive burst during the creative process and a combination with long-term practical experience.

JS 6：There's a balance in your work between traditional freehand brushwork and more descriptive elements. How conscious are you of this balance when creating? Has that relationship shifted over time?

LJ 6：近年来，我在对紫藤的笔墨表现上做了进一步思考。怎样跳出紫藤物种表象的藩篱，努力诉求内心的自我、自信和自由的精神状态。把紫藤的精气神辗转腾挪在纸面之上，从而感化自我、打动人心。我在创作时会考虑这种平衡，但更多是让直觉引导我。随着时间的推移，我的艺术语言也在不断进化，这种平衡关系自然会有所调整。

In recent years, I have been exploring the ink and brushwork manifestation of wisteria. I have sought to break away from the constraints of the wisteria species' superficial appearance and endeavor to express the inner self, confidence and the state of freedom. By transferring the essence, spirit and vitality of wisteria onto the paper, I thereby influence myself and touch people’s hearts. While creating, I do consider this balance, but more often, I let my intuition guide me. As time goes by, my artistic language is constantly evolving, and this balance will naturally adjust accordingly.

JS 7：Pan Zhenzhou, former vice minister of the Ministry of Culture and first director of the National Museum, writes that your work captures a "spring charm" and "purple soul." How do you translate these intangible qualities into visual elements through brush and ink?

LJ 7：潘部长长期从事艺术研究和领导工作，是我们画家的领路人和好朋友。他对我的画作的评价是中肯的也是学术的，但是也是对我的艺术创作提出的更高的要求。我试图通过笔墨的浓淡、干湿和节奏来捕捉和表达春天的气息和紫藤的精神。这是一种对自然美的深刻感悟和表达。我将通过不断实践和探索，搜尽万物之灵异，饱蘸笔墨画紫魂。

Vice minister Pan has long been engaged in art research work. He is a mentor and good friend in our artistic field. He offers critiques that are both academically precise and profoundly demanding—a call to ascend to new creative heights. I attempt to capture and express "spring charm" and "purple soul" through the variations of ink density, levels of dryness and wetness, and rhythmic modulation. This is no mere technique, but a profound dialogue with natural beauty. I will continue to practice and explore, seeking out the wonders of all things, and fully immerse myself in painting the soul of the wisteria.

JS 8：As both vice president of the Jiangsu Flower and Bird Painting Research Association and president of the Taizhou Flower and Bird Painting Research Association, how does your administrative roles influence your artistic practice?

LJ 8：作为江苏省花鸟画研究协会副会长，平衡个人艺术创作与协会工作关系可从以下几方面着手：

在时间分配上，制定清晰的日程安排，为个人创作预留专门的时间段，比如每周固定几天或每天特定的几个小时用于专注创作，不受协会事务干扰；同时，合理安排协会工作时间，高效处理会议、组织活动等事务，避免工作拖延影响创作。

在精力分配方面，在处理协会工作时全身心投入，充分发挥领导和协调能力，推动协会发展；而在个人创作时，要排除外界干扰，沉浸于艺术世界，激发创作灵感。

从目标整合角度，将协会发展目标与个人创作追求相结合。通过协会组织的展览、交流活动等，拓宽个人艺术视野，获取创作素材和灵感；同时，利用个人的艺术影响力和专业能力，提升协会的知名度和学术水平，吸引更多优秀人才加入，促进花鸟画艺术的传承与发展 。

As Vice President of the Jiangsu Provincial Flower-and-Bird Painting Research Association, balancing personal artistic creation and association responsibilities can be achieved through a structured approach in several key areas:

Time Management: A detailed schedule should be established to allocate specific time slots for personal artistic endeavors. For instance, dedicating fixed days each week or specific hours daily to personal creation ensures that these activities are not disrupted by association duties. Simultaneously, association-related tasks such as meetings and event organization should be scheduled efficiently to avoid delays that could impact creative work.

Energy Allocation: When engaging in association work, it is crucial to fully commit and leverage leadership and coordination skills to promote the association's development. Conversely, during personal creation periods, all external distractions should be minimized to allow deep immersion in the artistic process, thereby fostering creative inspiration.

Goal Integration: It is important to align the objectives of the association with personal artistic goals. By utilizing exhibitions and exchanges organized by the association, one can broaden artistic perspectives and gather valuable creative materials. Additionally, leveraging personal influence and expertise can enhance the association’s reputation, attract talent, and contribute to the preservation and evolution of flower-and-bird painting art.

JS 9：You've expressed a desire for your future works to be "more bookish, contemporary and personalized." What do these qualities mean to you in the context of traditional Chinese painting? How might they manifest in your work moving forward?

LJ 9在传统中国画语境中，书卷气对我而言意味着作品要有深厚的文化底蕴和高雅的艺术格调，它体现着画家对传统文化的理解与传承，是一种内在文化修养在画面上的自然流露。时代感则要求作品能够反映当下社会的精神风貌、审美趋势以及人们的生活状态，让观者能从画中感受到时代的脉搏。个性化强调作品要有独特的艺术语言和个人风格，区别于他人，展现出我自身与众不同的观察视角、情感表达和绘画技巧。

在新作中，为体现书卷气，我会深入研究古代经典画作的笔墨韵味、构图章法，汲取传统文化元素并巧妙融入其中，同时提升自身文学素养，让作品充满诗意与文化内涵。为展现时代感，我会关注当下社会热点、生活场景，运用新的色彩观念、表现手法来描绘现代生活中的人和事，使作品与当代人的审美和情感产生共鸣。在个性化方面，我会不断探索适合自己的绘画语言，从题材选择、表现形式到情感传达，都努力展现出独特的个人印记，比如尝试将一些独特的材料或技法运用到创作中，形成与众不同的视觉效果 。

In the context of traditional Chinese painting, scholarly air to me means that the work should have profound cultural depth and elegant artistic taste. It reflects the painter's understanding and inheritance of traditional culture, and is a natural manifestation of inner cultural refinement on the canvas. Contemporaneity requires that the work be able to reflect the spiritual outlook, aesthetic trends, and living conditions of contemporary society, allowing viewers to feel the pulse of the times from the painting. Personalization emphasizes that the work should have a unique artistic language and personal style, distinct from others, and showcase the painter's distinctive perspective, emotional expression, and painting techniques.

In my new works, to embody the scholarly air, I will delve into the brushwork and composition of ancient classic paintings, drawing upon traditional cultural elements and skillfully integrating them. Additionally, I will enhance my literary cultivation to imbue the works with poetic charm and cultural connotations. To demonstrate contemporaneity, I will pay attention to current social hotspots and life scenes, employing new color concepts and expressive techniques to depict modern life, thereby resonating with the aesthetics and emotions of contemporary audiences. In terms of personalization, I will continuously explore a painting language that suits me, from subject selection to expressive form and emotional conveyance, all aimed at showcasing a unique personal touch. For instance, I will experiment with incorporating unique materials or techniques to achieve a distinctive visual effect.

JS 10：Traditional Chinese painting carries centuries of history and philosophy. How do you position your work within this continuum while still speaking to contemporary audiences and their concerns?

LJ 10：中国画有着漫长的历史以及深厚的哲学内涵，怎样为自己所创作的紫藤题材作品确定一个合适的方向，这个方向要能让作品继承中国画的传统特质，同时又可以和当代观众建立联系，引发当代观众的兴趣，回应他们所关心的事物，也就是在传统与当代之间找到平衡，使作品在现代社会依然具有吸引力和价值，是我永远要做的事情。

Traditional Chinese painting has a long history and profound philosophical connotations. How to determine an appropriate direction for my own wisteria-themed works so that they can inherit the traditional characteristics of Chinese painting while also establishing a connection with contemporary audiences, arousing their interest and responding to the matters they care about, that is, finding a balance between tradition and the contemporary, and making the works still attractive and valuable in modern society, is something I will always be committed to.