Zhu Xinjian remembered for simple approach

Photo provided to China Daily

The works on show include Zhu's signature Jin Ping Mei (The Plum in the Golden Vase) leaf album, which was inspired by the Ming Dynasty (1368-1644) novel of the same name, along with his other erotic paintings.

He gave explicit depictions of sexuality and nudity, sourcing inspiration from traditional nianhua (Chinese New Year paintings) and ancient erotic art. He put them in a setting with plants and potted landscapes, which are normally portrayed as symbols of elegance and pride in classic Chinese painting.

He also used slang and lyrics of pop music as annotations on his erotic works, figures or flowers and birds. This innovation was imitated by other New Literati painters.

Most works on show were created by Zhu's left hand. His right hand became paralyzed when he suffered from a severe illness in 2007. He had wanted to name the exhibition My Left Hand in an attempt to prove the artistic capability of his left hand.

"You can hardly find another one like Zhu, who declared in public that he lived and painted for pure pleasure, in the art circle of today," says art critic Jia Fangzhou.

"Criticism of his art, from whatever perspective and standpoint, can never overshadow the artistic value of his works, because so far no one has ever depicted beauties with the rich emotions he does."

People believe Zhu's continuous challenge of intellectual doctrines reflects the essence of literati painting: the pursuit of free expression and independence.

Literati painting is viewed as a self-conscious creation in a long term and large scale in Chinese art history. It gradually rose to dominance after the Song Dynasty (960-1279). It was motivated by scholar-bureaucrats who were discontent to be ranked with court painters, who committed to precise imitations with great attention to detail.