Review: This article is dedicated to analysis of the works of a contemporary artist Zeng Fanzhi in the context of dialogue of traditions of Western European and Chinese painting. The author reviews the stages of formation of this original artistic manner that combines different stylistic approaches and techniques; reveals the key artistic peculiarities of his works – from referring to Western expressionism to formation of an individual style. A detailed analysis is conducted on the principles of conceptual art of Zeng Fanzhi realized in the use of meaningful images and symbols, such as “masks”. The author examines the methods of abstract painting in the works of Chinese artist reflected in the technique of “chaotic brush”, which is based on the expressive linear abstractions. In the period after 2018, which marks the period of experimental painting, Zeng Fanzhi combines the artistic methods of Paul Cézanne with the concept of traditional Chinese art, with the “found object” technique, offering a completely new interpretation of the works of Chinese classical painting. The article discusses the specificities of linear constructs and brush strokes in the artist’s works for determining the features common to his works of various periods. A conclusion is made that the paintings of Zeng Fanzhi represents a visual manifestation of harmonious interaction of the Western European and Chinese art tradition. Each stylistic approach used by Zeng Fanzhi demonstrates a profound understanding of painting, reveals his creative interpretation of artistic principles of Western European art that formed as a result of personal experience and high level of education. Chinese painting entered the era of non-modernism, remaining in many ways similar and simultaneously different from the art of Western modernism and postmodernism.

Keywords: pop art, conceptual painting, abstract painting, expressionism painting, Western European classical paintng, masks, visual symbol, Chinese traditional painting, chaotic brush style, iconicity