Jianfu and Gao Qifeng, brothers born in Panyu
As artists bearing historical ideals and missions, the Two Gaos advocated an “Art Reform”, which was in fact an extension to the political reform. When art meets reality, their pursuit of realism can be acheived. Their ideology of “Eclectic fusion of ancient and modern, Chinese and foreign” has made it possible to break through the limits of traditional Chinese painting format and create “New Chinese Painting” based on tradition yet borrowed experience from relistic modern Japanese painting techniques. They invented such paintings that can draw closer visual connections with the viewers, and shew a broader dimension in traditional Chinese painting. They sticked to the times and embraced reality, introducing ideologies of evolution and cosmopolitanism to Chinese painting and providing rich intellectual and linguistic resources for the development of Chinese painting.
By the joint efforts of the Two Gaos and other artists aspired to Chinese painting reform, the New Chinese Painting has transformed from an eclectic fusion into a better control towards life and the theme of the times, and hence development and rejuvanation are bestowed.