A painting by Zhu Danian on show.

　　Nature sketching is sometimes equivalent to creation in terms of the resulting artwork. Artworks can be created either by nature sketching or by recomposing the elements gathered from sketching, as are most realistic artworks done by both ways. We will leave out of the discussion the art after Modernisum, the creation of which do not involve sketching at all.

　　This exhibition adopts a novel method by juxtaposing Mr. Zhu’s nature sketches with his artworks based on preparatory sketches. This arrangement reveals the relationship between nature sketching and creation, and at the same time, sheds light on Mr. Zhu’s unique way of creation.

　　Traditional Chinese painting relies more on observation, memorization, and inspiration rather than on sketching on site. As the old saying goes: “Artwork creation derives from the integration of outer discovery and inner realization.” Nature sketching was introduced into China from the West about a century ago. In some cases, the western artists created their works directly by sketching from nature.  Sometimes they use sketching to accumulate elements, since they value more on realistic expression, while Chinese artists focus more on spontaneous expression. Both approaches, with their unique glamour, are rooted in their respective profound cultural background. The western sketching technique was introduced to China at a time when modern Chinese artists gradually turned to pursue realism in artistic creation. Such historical choice has made nature sketching a widely accepted method in Chinese art.

　　In the 1950s, Zhang Ding, Li Keran, and Luo Ming went on a sketching trip to Anhui, intending to debunk the myth that Chinese painting cannot depict reality. The trip decisively turned the tide and saved Chinese painting from being discarded by history.

　　Nowadays, Chinese artists no longer doubt the necessity of sketching from nature. As for the occasional skepticism of “sketching for the sake of itself”, it is merely to question whether sketching is detached from the grand historic themes of Chinese artworks in the new era. It is only the purpose and methods of nature sketching that need to be adjusted. Mr. Zhu’s exhibition to some extent respond to this issue.

　　It should be noted that the causal relationship between sketching from nature and creation is not predetermined. Each artist may have his/her own choice, which inevitably leads to endless possibilities. What has been chosen by Mr. Zhu is a unique experience that cannot be duplicated.

　　In the multimedia era, some functions of nature sketching are already taken over by multimedia tools. But the gap between man and machine still exists. While science creates new ways of observing and recording the world, it will not deprive men of the initiative to do the same. Looking forward, the tailwinds for nature sketching may be yet to come.

　　In the winter of 1978, Mr. Zhu and I went on a sketching trip to Xiqiao, Guangzhou. The figure of Mr. Zhu, wrapped in a puffy military overcoat and seated on the little camp stool sketching day after day, often lingers in my mind. That scene was engraved permanently in my memory.