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Altogether, Chinese painters Zhou Shuyu and Zhou Paiyun, father and son, lived in Macao more than a century.
Zhou Shuyu, also known as Zhou Zhan and by the pseudonyms Zi Xi Yu Fu (Fisherman of the Purple Creek), Zui Lan Xuan Zhu (Householder of the Intoxicating Orchid Pavilion), Qiao Shan Dao Ren (Taoist in Mount Qiao), and Jue Fei Shan Ren (Enlightened Mountaineer), was born in Xinhui, Guangdong, in 1881. He moved to Macao at the age of 21 and passed away in 1949. Active in Guangdong during the late 1800’s (reign of Qing Emperor Guangxu) he excelled in pastel painting and charcoal drawing. In the early 1900’s, the artist learned the portraiture techniques of Qian Hui'an, one of the luminaries of the Shanghai School (Haipai), under the guidance of Luo Baoshan, a painter from Guangdong also residing in Macao, besides studying Chan Buddhist philosophy with Master Jian Xing, the abbot of the Zhulin Temple.
Zhou Zhan draws thin lines with dry strokes, vividly depicting anecdotal subjects with a plump face, suggesting richness of movement by the meticulous folds of their robes. He uses the ‘three-white technique’, that is, painting the subject’s forehead, nose, cheeks with white powder to accentuate light-exposed areas and depict ladies wearing glamourous makeup to show their textures, a portraiture style then trendy in Shanghai and Guangdong. Moreover, he liked mimicking the portrait techniques of painters Tang Yin, Chen Hongshou , and Hua Yan. His works, however, shine differently from theirs, as he keeps pursuing Qian Hui'an’s style. Zhou Zhan also emulated Qing Dynasty painter Su Liupeng by featuring commoners in his paintings. His creations were highly prized by wealthy merchants and well-off Portuguese living in Macao.
Zhou Yun, also known as Pai Yun (Billows of Clouds), was born in Macao in 1925, and passed away in 2012. He studied traditional painting techniques with his father, Zhou Zhan, choosing the best from each school and practicing assiduously. At the age of 26, Zhou Yun’s works came to the attention of calligrapher Luo Shuzhong (1898-1968), who invited him to join Yu Un, the celebrated Chinese Calligraphers and Painters Association of Macao. He had since been one of the association’s pivotal members, becoming its vice president in his late years. Carrying on his father’s legacy, Zhou Yun created Qian-style portrait paintings with story lines, and also painted flowers, birds, insects, and fish, capturing the essence of the subjects and not just a literal likeness. The artist used smooth and rich yet vigorous and variable brushworks to depict the Buddha, arhats, and bodhisattvas, also doing occasionally ladies’ portraits. Later in life, he founded the Chinese Painting and Calligraphy Association, becoming its president.
Zhou Zhan and Zhou Yun epitomize two generations of Macao painters inheriting virtuosity in traditional painting, reflecting how ancient Chinese arts have been handed down. Besides portraying Chinese historic or religious figures, the father and son also dabbled into Catholic icons – a living testament to the East-meets-West spirit of Macao.
Inheriting Virtuosity: The Calligraphy, Painting and Seal-carving of Zhou Zhan and Zhou Yun is part of MAM’s exhibition series The Past - Masters of Macao: Poetry, Calligraphy, Paintings and Seal-carvings aiming to collect, preserve, exhibit, and study works by local artists, thus fostering Chinese traditional artistry in Macao in a sustainable way.
Chan Hou Seng
Director
Macao Museum of Art
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