Guo Qingxiang first published pictures of Fan Zeng's paintings

Due to the use of Fan Zeng's paintings in identifying the so-called "flowing water" style, collector Guo Qingxiang published a critical article on the subject. This sparked a major debate, with Van Zeng claiming that the issue had reached a 5 million yuan threshold by year-end. Recently, Guo Qingxiang finally released physical evidence of Fan Zeng's work. In an interview with the Morning Post reporter, Fan Zeng’s agent, Mr. Xu, stated that the current art market is not solely dominated by Fan Zeng's paintings. He remarked, “This is what Guo Qingxiang said, which shows he doesn’t truly understand painting.”

During a recent release of photographs, a large white paper was seen neatly hanging on a white wall, accompanied by over a dozen pieces of rice paper. All the images featured portraits of ancient figures, particularly Zhong Kui, wearing blue sweaters. One image showed the artist working on the final piece of rice paper. Another set of photos displayed a series of more than a dozen "Laozi Exits," all in black and white. Additionally, there was a recent photo of Fan Zeng himself.

Guo Qingxiang claimed these "flowing water" photos were obtained from a fan of Fan Zeng, who accidentally acquired them. He argued this proved his earlier assertion that Fan Zeng's "flowing water" style was not fabricated. “I believe this stylized, formulaic process is not true artistic creation—it’s just a painter’s mechanical production, akin to a craftsman’s work,” he said.

Mr. Xu, Fan Zeng’s agent, did not deny that the person in the photos was Fan Zeng. He responded, “The 'flowing water' concept is merely Guo Qingxiang’s personal opinion. If he doesn’t understand painting, why would he buy modern artists’ works instead of those from ancient masters?” He also pointed out that many famous painters, such as Fu Baoshi, have used similar techniques.

Guo Qingxiang acknowledged that such methods had been heard of before but insisted that Fan Zeng was the only one he had actually witnessed using it. He noted that Wu Guanzhong’s works are meticulously crafted, with each piece unique, reflecting genuine emotion and time. In contrast, he believed Fan Zeng’s method was driven by commercial interests rather than artistic integrity. “Many painters repeat the same theme and form for decades and remain famous—this is a common phenomenon, but is it acceptable?”

Jiang Hong, a cultural theorist, believes that anyone genuinely interested in Fan Zeng’s work would recognize the repetitive nature of his paintings. “You see, Fan Zeng’s works are mostly similar—like his Li Bai paintings. If you mention Du Fu, it could be Li Shizhen. I think this person is essentially drawing comic-style images. If this isn't corrected, Chinese painting will suffer greatly.”

Critic Liu Chuanming, a close friend of Fan Zeng, confirmed that the “flowing water” technique described in the recent photos was indeed how Fan Zeng painted. He stated, “Fan Zeng’s ‘flowing water’ and other methods have been criticized as a phenomenon, and that’s fine. But since it's a phenomenon, we must look at its roots.” He recalled that in the 1980s, Fan Zeng once said, “My success came from relying on officials and profiteers.” While this may sound exaggerated, Liu suggested that it reflects the broader issues of fame, money, and market approval that drive many artists today. “This is the essence of the 'Fan Zeng phenomenon.'”