1931 born in Zhejiang, Pujiang province Xitang village. The father was originally from a local primary school teacher; mother Zhou Yunque, a housewife.
1934 go home two miles of Tong Jin Qiao Cun live with my grandmother. Read the "Mustard Seed Garden", "the Dianshizhai pictorial" etc..
1943 school Tianjin bridge school. The school Mr. Chen pointing well, accept and love Chinese can read classical literature, "poetry", "classical view only" etc..
In July 1949, he was admitted to Hangzhou National Art College of Zhejiang.
The spring of 1950, the National College of art was renamed the East Branch of China Central Academy of Fine Arts. The best works in the spring the creation of competitions. In autumn, the hospital in Anhui in Northern Anhui, two land reform.
In the summer of 1953, graduated from painting department, graduation painting oil painting "teacher and disciple". The research into school, founded the student class, the instructor for the painter Li Binghong.
In the summer of 1954, graduated from graduate school, assigned to the newly created Chinese painting department. Along with China Central Academy of Fine Arts, Academy of Fine Arts in Zhejiang after the Dunhuang expedition to Cheonbuldong, research, copy mural for three months, and in-depth grassland sketching.
In 1955, he taught Chinese painting department in Zhejiang Academy of Fine Arts. When the spring, led by teacher Ye Qianyu, Deng Bai, Shi Yan, Kingnet, Zhejiang with the Academy of Fine Arts and China Central Academy of Fine Arts teachers and organization of cultural relics investigation team, inspection and copying to Dunhuang Cheonbuldong, for a period of three months. July, August, in Lanzhou Tianzhu Tibetan into life, painting ink and color painting "pick up mushrooms". In September, the creation of "journey to Hangzhou". The same year, Huang Binhong died for painting "Huang Binhong" as in the condolence ceremony.
1956, "journey" with the China exhibition to democratic Germany exhibition, and published in the country's art on the cover of a magazine. Autumn, go to Shanghai Chinese academy study Chinese painting, from the teacher of King Wu Changshuo sent flowers for four months.
In 1958, with the students in rural field teaching, drawing a lot of sketch. The deep study on body shape structure, combined with teaching, to make a sketch drawing, sketch painting Chinese trial. In summer, teaching in Zhejiang sea of Haining rural scene painting seawall project "taming the sea".
In 1960, Zhejiang province in the teaching field, a large number of paintings reflecting rural life sketch. Back to Hangzhou after the creation of "Zhejiang Sanqiu". At the same time for Chinese History Museum for ink painting "Shanghai third workers armed uprising".
1963, wrote "how to draw ink figure painting". This book provides a reference experience for the new ink figure sketching techniques, thus greatly popular. 1973 edition, published hundreds of thousands of copies.
Creation of "red book" in 1964.
In 1965, the second issue of "fine arts", published by Ma Ge Ge, "the art achievement of red book", pointed out that the painting of "red book" is the most outstanding representative work in the new figure painting. Autumn, due to increased stomach trouble, to Hangzhou screen hill sanatorium treatment.
1974 painting "sunny day" illustrations, went to Beijing suburb of Miyun, collecting material.
1975 to complete the "sunny day" ink thirty illustrations. These illustrations later from Beijing, Shanghai, Hebei three, the press published three different versions of the booklet.
1978, he served as the Fifth National People's Congress, was elected vice chairman of Zhejiang artists association. At the National People's Congress, proposed two proposals: first, it is recommended to restore the Huang Binhong Memorial, and the two is the proposed establishment of the memorial hall of Pan Tianshou. Two proposals have been supported by the relevant departments, the construction of the second year Pan Tianshou memorial.
1979 was elected executive director of the China Artists association. Zhejiang gongnongbing "illustrated" out of "selected works of Fang Zengxian". In Shanghai people's Fine Arts Publishing House "art series" published "portraits of other issues", according to the characters of art institutions across the country China painting professional courses, the reform must be put forward for the first time. Creating thirty illustrations of "Kong Yiji".
In 1981 ninth period published "the art" Jiang Feng as the "Fang Zengxian album" written by "order to break China painting" a place where there is no one in the.
In 1982 went to Shaoxing rural town, township "morning" painting. July, Zhejiang daily published "Fang Zengxian on the road of innovation" (written by Lai Yongxiang). September, Hongkong, "Wen Wei Po" in a full page published works and "Fang Zengxian" a new character (Mark wrote); "winter jasmine flower" first characters from the published "journey", "Kong Yiji", "Yan Yangtian", "Li Shizhen" and other works of illustrations and vivid portrayal of contemporary people "" an article (written by Mark). In October, "Zhejiang pictorial" published "Fang Zengxian" (a figure painter Zheng Chao wrote).
In 1983, Shanghai Chinese academy. In November, "Anhui pictorial" published "deep in the mountains, birds" costumed characters "Yongmei", "step on" etc.. July, went to Qinghai Tibetan Grassland in Yushu. In September, went to Qinghai in Zeku grassland. October, "laughter in the tent". "China literature" Ninth period published "Qu Yuan", "cattle", "like" and "petrel works such as" the square figure painter Zengxian (by Li Ruilin).
In 1984, Shanghai China academy vice president, was elected as the executive director of Chinese artists association. "The tent" laughter in the national art exhibition, won the award of excellence in Shanghai area. The same year, the Shanghai China academy vice president. With the Shanghai Bureau of culture cultural delegation to Japan to participate in the activities of Toyama Japan Hokuriku book monastery. Taiwan "lion art" works published in "Qu Yuan", "swallow".
July 1985, went to Gannan Tibetan Autonomous Prefecture deep Maqu prairie. In the same year he served as curator of Shanghai art museum.
In February 1986, then go to Gannan Xiahe Lenz temple. In August, Shandong "art world" published "Fang Zengxian and his ink painting" a text (written by Xu Hong). Shanghai "book and painting" third published "Fang Zengxian recent ink painting" a text (written by Wu Liang). In October 1988, with the Shanghai modern China exhibition exhibition in Marseille, Lyon, France, and Paris to visit the main museum.
July 16, 1989 "Yangcheng Evening News" published "mother". October 5th "Guangming Daily" published a "new harvest of art" (Shao Dazhen wrote), "mother" a painting comment. "Mother" in the seventh national art exhibition, won a silver medal and the Qi Baishi prize.
1990, Hongkong, "collection of heaven and earth," a text published "Fang Zengxian brief" a text (written by Xu Hong). "Fine arts" fifth period published "Fang Zengxian's ink world" a text (written by Xu Hong). In June, the "Hongkong Ming Pao" published "Fang Zengxian" (written by Zhou Tianli) ink figure. The head of the delegation of Shanghai culture identity painting, printmaking, photography and China works in Japan Yokohama exhibition.
1991 by the American Academy of biography awarded the Academy tenured directors and international advisers. When the "mother" by the Shanghai literature and Art Award of excellence. "Art" second issue "Fang Zengxian follow up" (Chen Qiutianlu). In May, Shanghai Chinese exhibition in Macao exhibition articles. In June, in the creation of Zhuhai costume giant works "ancient scholar", to December, painted sixty pictures. In November of the same year resigned as vice president of Shanghai Painting Academy.
1993 Chinese Artists Association, deputy director of the Chinese painting art committee.
1995 employed as Chair Professor of Shanghai Univer.
1996 held the first session of the Shanghai Biennale, director of the arts council.
In 1998 he was appointed Honorary Professor of The China Academy of Art. Held in 1998 second Shanghai Biennale, the theme of "integration and development", in the form of ink.
1999 was selected chairman and vice chairman of Shanghai Federation of literary and art circles and Shanghai artists association.
Held in 2000 Third International Shanghai Biennale, Japan's NHK television special broadcast for nearly an hour. Exploration into the ink painting, painting "the memory of mountains".
In 2001 with the accumulation of ink painting "leisure to see passers-by", "Xing Xing line".
2002 Shanghai Artists Association held "home" as the theme of the interior home design exhibition, the national art colleges are involved in any exhibition chief planner. Painting "hometown bench dragon" with accumulative ink method. Participate in the series of outstanding works of contemporary Chinese painting held in Beijing CPPCC Auditorium - Shanghai exhibition.
In 2003 by the Tianjin people's Fine Arts Publishing House "cursive Lanting Pavilion sequence".
2004 literature and art achievement award. Tianjin people's Fine Arts Publishing House "Chibi Fu" cursive.
2005 old people wearing fur "New Year paintings". Works to commemorate the Zhejiang painting exhibition held in Zhejiang Pan Tianshou museum.
2006 Trek - Fang Zengxian art retrospective.
In 1949, the new China was established, in order to adapt to the demand of a thousand things wait to be done, the new era, the traditional painting China innovation has become an urgent task in art circles at that time. How to break the rules and constraints of traditional Chinese painting creation, can adapt to the new era of aesthetic needs, serve socialist construction of new Chinese painting, Chinese painting reform, in 1950s to become the theme of the development of "new Chinese painting" new content, new form. The change and development in line with the current situation,
In 1955, Chinese Painting Department of Academy of Fine Arts in Zhejiang where the party Zengxian resumed, originally studying oil painting Fang Zengxian has been transferred to the Department of traditional Chinese painting. Under this background, talented, diligent study of Fang Zengxian college at that time to make full use of teaching resources from other countries, each of the director, to create a fusion of Western painting Chinese structure sketch method and traditional (mainly freehand brushwork of traditional methods) novel China painting material. This method solves the problem of China figure painting, figure painting to explore the creation of traditional Chinese painting materials China have distinctive characteristics of the times and the reality of life thus out of a new world, which is of historic significance Chinese modern painting practice in the process of text.
Fang Zengxian Chinese figure painting is based on "sketch" linear structure of the human body, it is formed from the French shade five tune sketch method, the Soviet Qisiqiakefu surface method to America Bryman structure, overall performance and mass structure method to line and line, the Pan Tian China Shou painting must to the main line of view the concrete implementation in the teaching of modern figure painting, is respected in the western traditional drawing method with shading as the main body of the outside of the new move, successfully solved the urgent need for real time Chinese painting expression. Because of this set of effective, the method is easy to grasp, welcomed by the majority of the students and the school's attention quickly in the teaching of traditional Chinese painting Zhejiang beauty in popularity, influence throughout the art college, a basic course China painting figure painting teaching. But Zengxian also has a significant impact on the modernization of the China painting, he has become the founder of zhe school painting and leader.
In 50s the "journey", 60s "the red book", 70s "sunny day", is a model of Fang Zengxian realistic figure for Zhepai realistic painting is the most representative works, is the special art in the age of "classic", contains rich art and history and the political, social and other value and significance. For people today, they are symbolic images, belong to a past era of indelible memories, but it is these memories, so that we can more clearly reflect on the past, based on reality.
In late 1970s, disaster-ridden the end of "Cultural Revolution", it also declared the end of the left pole line in literature, literary and art circles Chinese usher in a new spring. In the fine arts circles, the thinking about the art noumenon has been paid more and more attention, and the discussion of "content and form" and "formal beauty" in art becomes the focus of the moment. Get rid of the long-standing political vassal status, discover the true humanity, simple expression of sincere emotion has become a major driving force for artists painting. In the face of the increasingly free relaxed cultural environment, Zengxian party with great enthusiasm and joy into creation. On the one hand, he tried to make up for their lack of time on the basis of the traditional painting in Chinese, on the other hand he worked tirelessly, in-depth Qinghai Tibetan area, made a lot of figure painting. In 1984, he created his first important work after the Cultural Revolution "laughter in the tent".
1980s, is an extremely active period of Chinese cultural and ideological circles. With the window open, all kinds of books on modern western literary theory, genre, thoughts were translated and introduced into China, the domestic artists vision suddenly got great expansion, they tried to modern art concepts, techniques of creation, to find ways of freedom of expression, Chinese art circles appeared the hitherto unknown pattern. In this new era, realistic figure painting from the original mainstream into a pluralistic art of the yuan. Similarly, in the political impact of the artistic creation gradually weakened, how realistic figure painting out of their new path of development, the formation of new features not only has the characteristics of the times and the self personalized language, has become a new challenge in front of the figure painter.
Under the dual impetus of the development of the times and the pursuit of individual artistic consciousness, Fang Zengxian began to make a new attempt to find the new possibility of the modernization of ink figure painting. To this end, he carried out various experiments, from the last century, from 80s to 90s, he was seeking between the East and the west, the history and reality. He not only to the western modern art inspiration and form of resources into the modern western art form and deformation factors in ink figure painting, also feature of China folk art research, but also to the traditional painting history Chinese seeking painting form and connotation of the spirit of support, will study the characteristics of ink, literati painting aesthetic charm, repeatedly pondering into his creation. In ten years time, he painted a large number of drafts, sketches, and constantly self forging and refined language, to personal style schema with the language for connection of ancient and modern things and can express self emotion and spirit. This is an attempt to go beyond their own artistic achievements of the very brave exploration. From Qinghai to the ancient poetry and painting line drawing characters, and then to the Jimo method of combining experiment and graphic calligraphy line, with a square Zengxian times of the attitude of self art journey journey, challenge themselves and in the process constantly beyond themselves repeatedly.
The cracked, rub, and dyed basic skills of product Chinese landscape painting in the song after the ink law has played an important role, but this method is basically in the landscape painting by. Fang Zengxian to find a new expression method of ink figure, in the process of learning and Research on traditional painting, landscape painting inspired by accumulated ink method, and the initiation of the introduction of his figure painting ideas to increase the painting figures the thickness and texture, and immediately put into action.
On the ink in the last century, in 80s the theme of figure painting and ancient Tibetan theme of the painting, Zengxian party has made this attempt, then this method is used in the ink performance figures dressed, yet in the face. From the beginning of 2001, the party began to apply Zengxian to the human face, hands and body. In the process of creation, the artist found ink performance many benefits in terms of shape and with ink painting figures, can enhance the overall sense, a sense of form, in the use of chiaroscuro, a light source is no longer confined to the western style, but according to the needs of the situation to the distribution of black and white. Such light and shade, is not seen in reality, it is dominated by the relationship between the picture and ink and black and white relations, and even to some extent, the image is also due to some changes in the relationship between light and shade. Jimo can produce a mottled texture effect, which can be showed in texture, such as crumpled suit, thick cotton padded clothes, these clothes also makes special sense of form, the image and the real picture of the image is no longer the same.
With the ink drawing characters, feels the most dignified and gloomy, with the vicissitudes of life and bitter taste, there are great differences between the literati and the aesthetic temperament and spirit of traditional Chinese figure painting conveys. And came out from the village of painter Fang Zengxian believes that this can just show their heart always care and respect those objects -- simple farmers and herders, they are the vulnerable groups in life is also the creator of history and life. In recent years, ink accumulation has become one of the important means of Fang Zengxian's figure painting. "Banana", "toast Book Huai Su," the dream "dance", "beads" and other works, Fang Zengxian is for the initial success of Jimo method. "Echo of the mountains", "leisure to see passers-by", "hometown bench dragon" is a typical product
When the product Mofade to successful application in figure painting, Zengxian square of ink painting has stepped into a new stage. Solid modeling skills, deep melancholy ink painting, thin crisp calligraphy line, realism creation idea, today, Mr. Fang Zengxian, we say he is selectively absorbing nutrition on art at all times and in all countries, have created their own unique painting style.
Mr. Fang's view, the subject, content and style of painting, he has entered a fairly free position in the creation. Whether the traditional literati paintings China high realm and elegant taste of dance works, or realistic life and herdsmen or villagers reflect the lives of ordinary people and the spirit of the works, the ink lines of shade, simplified, ink and line number and the proportion of workers to write, light and unusual composition the airflow and the spirit of the stagnational, have different emphases, which under his pen ink figure also shows vivid and rich charm and temperament.
Although the realistic basis of Fang Zengxian's painting, however rich he works the picture form shows him as a form of performance and composition of screen ink and there is enough room for imagination, he is God in written form, on the basis of realistic and not for the shape, try to grasp the spirit and the performance is the temperament of objects, the pursuit of the so-called out of the territory, implication. On the form and artistic conception, the painter said a few words in pointing out the relationship between the two: "in the past two years, the physical benefits of weak, but I was trying to calligraphy and painting, painting and hope in the exploration, strengthen the concentration of" meaning ", meaning the strokes in my opinion, China in Italy, just a the expression of emotion, by the words out. In the modern and avant-garde art of the west, the formal language, if expressed sincerely, is in the range of emotion....... But not with the form can be emotional, aesthetic form, but a superficial aesthetic". As for the true meaning of artistic creation, the artist himself concluded: "the originality of art lies in the artist's perception of the universe and life".
Fang Zengxian is an excellent ink painter and art educator, and Mr. Fang Zengxian is a forward-looking and influential figure on the development of contemporary Chinese art. He served as vice president of Shanghai Academy of Chinese, curator of Shanghai Art Museum, Shanghai Artists Association chairman, has made a lot of work to promote the development of art and the active area of Shanghai, and eastern China, especially from the middle of last century since he in under the leadership of Shanghai Art Museum hosted the six consecutive it has become a considerable international influence, domestic famous brand and contemporary art exhibition at the Shanghai biennale. This is the first International Biennale organized by Chinese himself, is Chinese stood in their position of national culture, from the culture of their own development needs to determine the theme of the exhibition, selected artists exhibition, it has changed the China artist in the international art arena in the selected embarrassing situation, to enhance the status, China contemporary art in the international contemporary art on the stage of China international cultural image has played a very positive role and effect. From the first introduction of China taste paintings, to the second session of both traditional and experimental ink, to highlight the international third but stressed local "sea", and then to the fourth session of the "urban construction", the fifth session of the "image of survival" and the sixth session of the "hyper design" theme, Shanghai Biennale in the internationalization of modernity, there is always a concern of localization, emphasizes the basic clue of nationality throughout the meantime, actually this and Fang Zengxian always adhere to the national characteristics of the road of art, to establish their own localization of contemporary art thought inseparable.
Mr. Fang Zengxian is an active thinking open, inclusive and exploratory strong, although he is taking the road of realistic painting as the foundation, but he to various other artistic genres and style is not rejection, do not refuse, but holding the learning and inquiring attitude, especially for young people the creation of art, he is very open-minded and tolerant, try to understand and support. So, in reality, he often encourages various art forms and artistic style of the new attempt and exploration, actively create opportunities for emerging young people and the platform, these are also in Shanghai Today Art Museum will become an important cause of contemporary China has considerable influence and cohesion of the national art museum.
Fang Zengxian, a representative figure of the second half of the twentieth Century Chinese realistic figure painting, which has a wide influence China painting of the new Zhejiang School figure painting "the founder and promoter. As a typical case of art, Party Zengxian epitomizes since the new China established to adapt to the new era Chinese painters need to practice constantly seek change, innovation, unremitting exploration of hard art. 
Shanghai Museum of art, after a year of careful preparation, particularly the introduction of "Journey - Fang Zengxian Art Exhibition", is hoped to host such a typical retrospective exhibition, not only for the painting Chinese painting party Zengxian for more than half a century long ink painting exploration course review and display comprehensive. At the same time also to Zengxian as the representative of the party since the second half of the twentieth Century China painting history, "Zhepai figure painting" the contribution and significance of a comprehensive analysis and research.
The exhibition will first increase since 1950s in various stages of the creation of a hundred pieces of representative painting, sketch, sketch through the other show, briefly presents its basic features to the development of art. At the same time, the exhibition will be through the relevant literature, videos, photo albums and graphic book review published in a variety of ways, embodied in his artistic practice, achievements and artistic ideas and creative ideas, truly and objectively reflect the identity of him as an excellent painting calligrapher and art educator, Chinese of the art museums and the important push role, to China ink painting, China contemporary art development, and Chinese Art Museum of the prosperity of the positive contribution and role.