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欧洲古典主义画风在繁荣兴盛了百多年后,在新的流派不断涌现之时,似乎沉寂衰落了下去。但作为一种非常成熟的流派和画风,并没有终结其对人类审美理想的贡献,对绘画领域顽强地持续不断地影响。在中国,几代绘画艺术家,他们中的许多佼佼者,一直在古典主义画风的经典油画语式中追寻、探讨,从中吸取精华,试图创造出自己的个性绘画语言。早先有靳尚谊,后有杨飞云、王沂东的成功学习消化与创造,现有年轻画家曾传兴锲而不舍地吸收与转化。而曾传兴是后起学习、继承和研究古典画风的优秀者。曾传兴早年的诸多作品如上世纪90年代的《佤女》(1996年)、《稻草人》(1997年)、《来客》(1999年),基本上是属于中国古典写实主义油画的路子。但其中已有了自己对古典主义的较为深切的理解。进入新的世纪,曾传兴在已有的实践基础上,似乎寻找到了属于自己的油画表现语言。2003年至2007年画出了一批以“纸新娘”为代表的作品,以后不断地积累表现,初具雏形的完成了自己第一阶段
After more than a century of flourishing European classicalism, as the new genre continued to emerge, it seemed as though silence had declined. However, as a very mature genre and style, it has not ended its contribution to the aesthetic ideal of mankind and has a tenacious and continuous influence on the field of painting. In China, several generations of graphic artists, many of whom are outstanding, have been pursuing, exploring, exploring and learning from the classical oil painting language of classicist style, trying to create their own personalized painting language. Earlier, Jin Shangyi, Yang Feiyun and Wang Yidong succeeded in learning to digest and create. The existing young painter Zeng Chuanxing persevered in the absorption and transformation. And Zeng Xing is a good start to learn, inherit and study the classical style. Zeng Chuanxing’s early works such as the “Wa Girls” (1996), “The Scarecrows” (1997), and “Visitors” (1999) in the early 1990s basically belonged to the classical Chinese realist oil painting. But there is already a deeper understanding of the classicism. Entering into the new century, Zeng Xing seems to have found his own oil painting performance language based on the existing practice. From 2003 to 2007, he painted a series of works represented by “Paper Bride ”, after which he continuously accumulated his performance and took shape at the first stage