FOR celebrated contemporary artist and educator Le Zhenwen, his best time was the two years back in the 1970s when he copied the works by masters like Wen Zhengming (1470-1559), Zhang Daqian (1899-1983) and Wang Shigu (1632-1717) during his student days.

“This unique experience can’t be repeated again,” says the 60-year-old artist of this period in his early career. “I have to say that this was my fortune, the biggest fortune in my life.”

An exhibition, entitled “Beyond the Cloud and Mist — Le Zhenwen’s Art Exhibition,” is now underway at Liu Haisu Art Museum, featuring 40 of his original ink-wash paintings.

The artist donated 60 of his works to the museum, including the 40 pieces on display. Among them are several representative works from different periods in his long career, were also donated to the museum.

“Some of my friends joked that I was a lunatic. How could I donate such a large number of works without thinking of their value in the market,” Le says with a smile. “But I want to do something special and wayward, just like an unforgettable gift given to myself for my 60th birthday.”

Born in 1956 in Zhenhai, Zhejiang Province, Le is now the dean of Shanghai Maritime University’s Xu Beihong Art School.

Shunting between Tokyo and Shanghai, Le and his ink-wash paintings have garnered acclaim in both Japan and China.

“The real starting point of my artistic path actually began at my technical school,” he says.

In the 1970s, Le entered the technical school affiliated with Shanghai Import and Export Corporation for Arts and Crafts. At that time, the company had a large warehouse piled with ink-wash paintings confiscated during the “cultural revolution” (1966-76).

These precious artworks were strewn randomly throughout the facility. At the time, few showed much consideration for these works, which had been denounced as “bourgeois” and “feudal.” There was, however, a demand for such pieces in other markets like Hong Kong, Taiwan and Japan.

“So we were asked to copy some of them for sale,” Le recalls. “You know, that was a proud thing for a young student like me, who was able to earn foreign currency for our country.”

Le developed an interest in ink-wash painting and calligraphy as a child. Encountering these original masterpieces was an eye-opener for the young artist. Day and night, Le engaged himself in copying and absorbing the elegant curves and brushstrokes of these classic works.

“The more I copied, the more I was amazed by the profundity of the Chinese painting,” he says. “I also read many magazines and books about Chinese history, art and culture.”

When looking back today, Le says he can’t remember how many paintings he copied, but the two-year experience helped hone his techniques and his understanding of Chinese ink-wash painting.

In the 1980s, Le furthered his studies in Tokyo, where he was greatly influenced by the arrangement and harmony of Japanese painting.

Le’s ink-wash works fuse traditional techniques with a modern flare. One obvious characteristics is that he focuses on depicting small details in his works. He never ignores small parts in the whole.

A noted landscape artist, Le says he travels widely to sketch each year in China and Japan.

“When meandering in the mountains or the forest, I am often fascinated by a rock, a ray of sunshine, a pond or a vast cloud,” he explains.

“Nothing in my life is more joyful than when I feel that I am part of such scenes,” he says.

Q&A

Q: Usually how long does it take you to finish one painting?

A: Small paintings usually cost me several days. But for more daunting pieces, it takes longer. For example, I spent nearly a year finishing a work shown at this exhibition that’s 6 meters long and 1.8 meters wide.

Q: You stayed in Japan for many years, how does Japanese culture influence your art?

A: I like ukiyo-e and the quietness in the life of the Japanese people, and I am sure that they are somewhat reflected in my works.

Q: What is the allure of being an art educator, as you have every reason to become a professional artist? Are you strict to your students?

A: I enjoy so much about being an art teacher. I like to be surrounded by young students who can inspire me in a lot of ways. Because of my communications with them, I feel that I can still keep up with the pace of society and technology.

I am really a strict teacher because I know how one could benefit from practicing basic skills.

Q: What’s the biggest disadvantage for today’s young students?

A: It’s a pity that few of them can write beautiful calligraphy, which is actually a critical core of the brushstrokes in ink-wash paintings.

Q: You are noted for your landscape paintings, but you are also experienced in figure and realistic paintings on rice paper. Do you prefer to be called a landscape artist?

A: Of course not. I don’t like to be stereotyped, and I don’t think an artist should be fixed with a title. To tell you the truth, I am also very good at drawing animals. For example, I once drew a tiger for the cover of a Japanese magazine, and that edition sold very well. You know why? Because members of some underworld communities bought it!

Q: I heard that you are a gourmand. Are you also a good cook?

A: Just look at my belly. I am quite picky in food. I know some really good restaurants in Tokyo and Shanghai that I could recommend. I like cooking, and I feel happy to cook a table of dishes for my family and friends.

Q: Today you shuttle between Tokyo and Shanghai, what’s the appeal of living in these two different cosmopolitans?

A: Living in these two cities enables me to lead two different lifestyles. In Tokyo, I am more peaceful with my works and family. However, here in Shanghai, I can meet with friends in a relaxed mood. I like drinking, and it is a wonderful experience when I can have a bottle of Black Label with my close friends here.

“Beyond the cloud and mist — Le Zhenwen’s Art Exhibition”

Date: Through February 5 (closed on Mondays), 9am-5pm

Venue: Liu Haisu Art Museum, 1609 Yan’an Rd W.

Tel: 6270-1018

How to get there: Metro Line 3 or 4 Yan’an Road W. Station