Liu Yunsheng: A Humanistic Voice in Contemporary Chinese Watercolor

Zhang Hongbin: As a professionally trained artist, you were unable to engage in artistic creation for 35 years because of the special nature of your work. This “blank period” occupied nearly half of your life and arguably the most productive years for an artist. Looking back, how do you evaluate those years and your current artistic state?

Liu Yunsheng: Because my work involved national secrets, I was not allowed to paint or create for 35 years. For a professional artist, that was indeed a cruel reality. Those were my youth and prime years—the very period when many great artists produced their finest works. I believe I could have done the same.

However, this interruption had both disadvantages and advantages. The disadvantage is obvious: I could not paint for 35 years. The advantage is that after retirement, I devoted myself wholeheartedly to sketching trips and artistic exploration to make up for the lost time. Without that gap, I might never have worked with such passion. At the same time, those 35 years were also years of life experience. Today I feel content with my work and my life. I have done what I wanted to do, and I believe a life of quiet fulfillment is better than one seeking absolute perfection.

Zhang Hongbin: Which artist has had the greatest influence on your watercolor style?

Liu Yunsheng: Master watercolor painter Guan Weixing has been my greatest mentor. I often visited his studio to observe and learn from him, and he always welcomed me warmly. Even after we lived far apart, I continued studying his paintings. His albums have remained on my painting table, and whenever I encountered difficulties, I would consult them for inspiration.

Another artist who profoundly influenced me is the Russian-American painter Nicolai Fechin. His powerful oil painting techniques inspired me to develop watercolor works with the richness and weight of oil paintings.

Zhang Hongbin: Your watercolor portraits possess an unusual sense of depth and solidity, almost resembling oil paintings. Is this related to your background in oil painting?

Liu Yunsheng: Absolutely. My oil painting education became part of my artistic foundation. No matter what medium I use, traces of oil painting naturally emerge in my work. I have also been deeply influenced by Fechin. During my creative process, I often study his paintings, pursuing their bold color blocks and strong visual impact. As a result, my watercolors gradually acquired the sense of weight, light, texture, and spatial depth commonly associated with oil painting.

Zhang Hongbin: Your paintings are more than records of regional culture; they reconstruct the idea of “homeland” as a spiritual concept. Is your goal to focus on universal human experiences rather than novelty or political expression?

Liu Yunsheng: Yes, that has always been my goal. I care about universal human experiences and the combination of truth and emotion, rather than pursuing novelty or political expression. The Tibetan people live under extremely harsh conditions on the world's highest plateau, where survival is difficult. Yet they have flourished there for thousands of years. Their resilience has inspired my deeper appreciation for life itself.

Zhang Hongbin: You have traveled to Tibet and other western regions twenty-four times to collect materials. What kind of subjects best suit your artistic expression?

Liu Yunsheng: My choice of subjects is broad, but people are always at the center. I also paint animals such as cattle and sheep when they enrich the artistic expression. I value subjects that possess artistic beauty, philosophical meaning, and visual interest.Simple and authentic labor is particularly important to me because labor is the fundamental means of human survival. I collect a large amount of reference material, then carefully select the most representative cultural images before transforming them into watercolor paintings. Elderly people, women, children, and ordinary workers have all become central figures in my work.

Zhang Hongbin: Your works balance the lightness of watercolor with the weight of oil painting. How do you achieve this harmony?

Liu Yunsheng: Transparency, rhythm, and lightness are essential qualities of watercolor, but I often felt that a single application was not enough. Therefore, I developed a process of repeated layering and refinement, which naturally created a richer and heavier texture. Rather than focusing on technique alone, I pay close attention to the balance between solid and empty space, as well as color relationships. For example, when painting children's hair, I carefully adjust the balance between light and softness so that strong highlights do not destroy the delicate texture. As Repin once said, “Art must capture those moments in life that breathe.” I simply try to preserve those living moments.

Zhang Hongbin: Looking back on your decades of watercolor practice, what do you consider your most significant technical breakthroughs?

Liu Yunsheng: I am actually a rather conservative painter, so I don't often speak about breakthroughs. Every artist has his own approach, and I have mine. Some people say I am skilled at using masking fluid. In reality, masking fluid is only a tool; it must be carefully adjusted and repeatedly refined. Used properly, it preserves highlights while allowing me to paint boldly and freely. Beyond that, I have simply remained committed to painting portraits throughout my life.

Zhang Hongbin: How has technological development influenced your watercolor practice?

Liu Yunsheng: Technology has influenced watercolor more than people may realize. New materials, techniques, and tools all contribute to artistic development. One important opportunity came from my conversations with Guan Weixing, which broadened my thinking. The biggest challenge for me was learning to use masking fluid. Even after many years, it still requires constant practice. For someone of my age, adapting to new tools can be quite challenging.

Zhang Hongbin: Finally, how do you see the future of watercolor painting?

Liu Yunsheng: Watercolor has developed rapidly in China over the past half century. Many universities now offer watercolor programs, professional organizations have been established across the country, and exhibitions are held frequently. Outstanding artists continue to emerge, and excellent works are constantly being created. Thanks to the efforts of universities and art organizations, watercolor has gained a solid social foundation. I believe its future is extremely promising, and this once modest medium will undoubtedly produce truly great masterpieces.