"Wang Fan-chih puts on his socks inside out. People say it is wrong. It may be unpleasant to your eyes. It, however, is nothing of my feet's concern."

This is Cheng Shan-shi's self-portrait. His outer appearance or inner spirit are no different from that displayed in the rhyme by Wang Fan-chih. From the watercolor sketches of his early stage to Chinese painting after the age of 30, he has always visualized painting as an absolutely "egoistic" activity.

As he never promised himself he would be a painter, he has never paid much attention to the "trends" in painting or the "missions" of painters. And he couldn't care less whether or not the value of his paintings is confirmed by painting circles. He said: "Some masters of classical Chinese painting always fling criticisms at each other. The group specializing in fine and delicate drawings criticizes the impressionistic group as too perfunctory. The impressionistic group, in turn, castigates the classical group as too dull and stereotyped. Amid the divergent views, we have a difficult time telling right from wrong. In my view, as long as I think it is good, it doesn't matter what others say. My works are not for sale, so I don't have to seek others' approval."

This carefree sentiment is reflected in Cheng Shan-shi's paintings--colorful landscapes, luxuriant bushes and some primitive and attractive characters.

A close look at Cheng's works brings the viewer back to a fresh setting, at harmony in the world. It seems that, somewhere deep down in our recollections of childhood, a long-buried nature has been awakened, and a window is opened on a beautiful, blue sky. This observance helps to confirm the significance of life, to help one to march forward with courage.

The personal appearance of Cheng Shan-shi's environment reminds people of a humorous figure within a puppet show. Books, paintings, waste papers, brushes and what not are scattered and piled up high on the floor and on the table tops. Some of the books are open and stay that way. It seems that the artist was distracted and took care of something else while reading a book. The same fate befalls other books. He says, in self-mockery, that he lives in a refugee camp. Instead of a guilty incomplacency, he seems to enjoy it, and wants to tell the world that secular tidiness does nothing for him.

Since he browses among a great variety of books, he easily quotes from the classics. His conversational language is a beautiful, interesting prose. He deems knowledge a great help to a painter. Particularly so when he adopts material from historical and literary classics, because his works will be narrative and contain a more in-depth significance.

Such common motifs as a cowherd, miniature cat, dog, chicken, buffalo and bear are included in his paintings. Besides keeping to the features of their normal appearances, Cheng personifies all these mammals: the hungry cats drool, the chiclets stick out their tongues at each other and the plump black bears stare through dark and glistening round eyes like naughty boys.

Inspired by his children's puppet toys, Cheng drew an album of toys, each with its own characteristics and interesting captions. Laughing, he pointed at a Santa Claus, Micky Mouse, Donald Duck: "See, I can also paint from Western caricature." He showed a childlike happiness.

He pointed out that the developments of science now allow Chinese painters to use new materials--such as acrylics, the new watercolors and oil paints--to create new horizons. He believes that even such new transport vehicles as automobiles, steamships, trains and airplanes--even modern figures--may be included within traditional Chinese painting.

Cheng believes that the theory of Peking opera and of Zen can be applied to all forms of Chinese art. Technically, Chinese painting abdicates realistic perspective to emphasize impressionistic perspective. Though the style fails to convey a sense of depth, it has achieved a unique psychological plane. Dull sketches only reproduce the contours of objects. A good Chinese painting can penetrate to reach inner reality and manifest the artists' personality and point of view.

Spiritually, Peking opera has inherited thousands of years of Chinese tradition. Therefore, Cheng said, Peking opera is a root influence on Chinese painting. In general, besides a table and a chair, the stage in a Peking opera has no other setting. The table and chair serve different functions in different plays. Sometimes, they serve as mountains, sometimes as walls. The actors' gestures signify such actions as opening or closing of windows, and mounting or dismounting from horses.

Cheng said that, for instance, when drawing a night scene, a traditional Chinese artist simply paints in a moon to indicate the time. The plants, huts, and figures can be seen as clearly as in broad daylight; Cheng said that he applied the theory of Peking opera in his painting, "On the Sound of Autumn." In Western theory, his painting shows several mistakes. First, since the moon hangs in the sky, it should be impossible to see clearly the trees and huts, the little boy and the great Chinese scholar of the Sung Dynasty, Ou-yang Hsiu, reading his books. Next, it was not correct to paint an open window because the candles would flicker out. And since he has opened the window, he doesn't have to send the boy outside to focus the scene. But these things are all reasonable in the theory of Peking opera.

Cheng, speaking in a Mandarin laced with a heavy Taiwanese accent, states: "The artist's interpretation of the subject matter is much more important than the hard facts."

One of Cheng's calligraphic pieces looks like the work of the master King Nung. He admitted that he has not found his own style. He used a metaphor. "I have many pairs of eyeglasses. Sometimes I put on the eyeglasses of Li Pai; sometimes those of Tu Fu (both great poets of the Tang Dynasty). Only by capitalizing on the wisdom and experiences of the ancients will we be able to clearly see real things."

He also pointed out that painting is like "twining cotton yarn." Each artist is a strand of yarn. "Only by twining oneself in the huge cable of history, will he be able to develop resilient strength and absorb the essences of five thousand years of history and culture. All artists must share the same recognition--that the torch must be passed from generation to generation," he said.

[Picture Caption]

1. Cheng Shan-shi with a collection of toys. 2. Cheng encourages his daughters to pursue careers in art. 3. Self-portrait. 4. Cheng shows off some of his dolls.

1. Chi Pai-shih's honest style had a great influence on Cheng. 2. Painting to entertain his two daughters. 3. Aborigines admire the sunrise at Lanyu.

1. Cheng Shan-hsi's rural villages. 2. Some masterpieces have an unusual appearance. 3. Cheng likes to paint humorous figure for a puppet show.

Cheng encourages his daughters to pursue careers in art.

Self-portrait.

Cheng shows off some of his dolls.

Chi Pai-shih's honest style had a great influence on Cheng.

Painting to entertain his two daughters.

Aborigines admire the sunrise at Lanyu.

Cheng Shan-hsi's rural villages.

Some masterpieces have an unusual appearance.

Cheng likes to paint humorous figure for a puppet show.