Wang Xiaojin  

Wang Xiaojin 

1968 Born in Inner Mongolia, China.

1991 Graduated from Art Department of Shandong Normal University, Shandong, China.


China’s culture is extensive and profound. Even as a native Chinese person, I have only just begun to scratch the surface of this tremendous civilization. I have not always felt this way. When first entering Art College, I was fascinated by the western way of life – its art and traditions. I would talk extensively about Greek culture, Rembrandt, Rubens and so on. I was more intrigued by occidental culture than my own. To me, Chinese ink painting seemed outdated while oil painting appeared more fashionable. Nowadays, however, seeing the vast array of contemporary artistic talent I feel slightly ashamed. I am deeply proud of my roots and of how we are continually progressing on the artistic front, both in terms of skill and global recognition.


There are two kinds techniques frequently used in Chinese ink paintings; Gong Bi (using a very thin pen to paint detailed work) and Xie Yi (a more blurry, freer style that strives to capture the spirit and essence of objects and figures). There is also oil paint, which lends itself to both realistic and more expressionistic approaches. I like to experiment with all the different techniques. We live in a wonderful world and though perhaps I cannot present my imaginary world to viewers as accurately as I would like, I feel immense pleasure in my attempts to do so. Aside from expressing my own emotions, I simultaneously hope to strike a chord with viewers and bring you joy. I am not a stylish person and what I strive for is to be genuine and true to myself, rather than focus on the opinions of others. I use my heart to paint and my soul to communicate. Although my body may never be free, I yearn to make my spirit soar.


Unlike many contemporary Chinese artists who are attracted by all things modern, Wang Xiaojin is inspired by the distant past, particularly its women and artistry. He endeavors to capture the mood of a bygone era that was altogether most refined and conservative. The details in his paintings are drawn from traditional Chinese culture. Ornate porcelain vases with elaborate flowering arrangements, embroidered silk dresses, and modish furniture serve to create the opulent world in which his figures live. 


Delicate and chic, Wang's paintings hark back to a time when being "feminine" typified a woman's existence. The scenes created depict aristocratic ladies who would want for nothing in the materialistic sense but who had little freedom. Indeed there is an unmistakable sense of melancholy in his work. The small bird-like bodies make the women appear fragile and vulnerable while their disproportionally large faces draws attention to their sad expression. Even when the figures are active - sewing, reading, fanning themselves or even socializing - their eyes gaze wistfully into the distance. It is hard to tell whether they are dreaming of a more fulfilling life perhaps, or whether they are simply lost in boredom. Wang knows that women of the time would avoid revealing their emotions in their face. He acknowledges; 'even when they felt happy (.) they wouldn't show it on the surface. All they would show was tranquility and grace.' Unsurprisingly, this invisible mask makes the figures all the more profound and intriguing. 


The China of today could not be further removed from the world Wang depicts in his paintings. The role of women has changed immeasurably. From having virtually no command of their lives they now can take full control of their destiny without needing a man's consent. Men and women have equal opportunities and education, meaning that, they also competitors in many areas. But alas everything in life has a price and the cost of female advancement might well fall into the man's lap. Certainly Wang feels that 'modernity has lost the elegance once held by Chinese women in the olden days.' Indeed in a country obsessed with change, modernization and individual fulfillment, it is no bad thing to occasionally reflect on where we have come from and what we leave behind.







Growing pains of a Lotus” group show at ART LEXING Miami, USA  

ART LEXING group show at ART ASIA FAIR 2010 Miami, USA  

Huandu 3 degrees art exhibition Beijing Today Art Museum, Beijing  

The opening group exhibition of Song Zhuang Huandao Art Museum Beijing 

“Wang Xiaojin Solo Exhibition”, Art Scene China, Shanghai. 

“China International Gallery Exposition (CIGE)”, Beijing. 

“Wang Xiaojin Solo Exhibition”, Art Scene China, Shanghai. 

“Chinese Contemporary Art Exhibition”, Reed Savage Gallery, Miami, USA. 

Group Exhibition, Art Scene at the Westin, Shanghai. 

“New Art from China”, Kunstbunker, Munich, Germany. 

“The 10th National Art Exhibition”, Shandong Province. 

“Wang Xiaojin - Solo Exhibition”, Art Scene China, Shanghai. 

“Red Exhibition”, Red, Shanghai. 

Group Exhibition, Magazin, Shanghai. 

“Art Chicago 2003”, Navy Pier, Chicago, Illinois, USA. 

“Transformation of Paradise”, Group Exhibition, Art Scene China, Shanghai. 

“The Third China Oil Painting Exhibition”, Jinan, Shandong Province. 

“Wang Xiaojin Solo Exhibition”, J Gallery, Shanghai. 

“Exhibition in Honor of the 60th Years Anniversary of Mao’s Speech in Yan An City”, Shanxi Province. 

“Experienced and Trial, Oil Painting Exhibition”, Shanghai. 

Group Exhibition at J Gallery, Shanghai. 

“Shanghai Art Exposition”, Shanghai Mart Expo Centre, Shanghai.  

“China - Australia Exchange Exhibition”, Scene Watching Gallery, Beijing.   

“Emerging from Beijing, Group Exhibition”, Church Gallery, Claremont, Washington, USA. 

Group Exhibition, Scene Watching Gallery, Beijing.   

“1998 Shandong Oil Painting Exhibition”, Shandong, China. Awarded Academic Prize 

“Emerging Artists of Shandong Exhibition”, Shandong Province. 

“The First Oil Painting Biennale”, Shandong Province.  

“The Second Annual Art Professors’ Exhibition”, Shandong Province.Awarded Second Prize. 

“China Oil Painting Exhibition - Asian Art”, Concert Hall Gallery, Beijing.