In the past hundred years, China's art education went through a very twisted process. It can be divided into three stages: from 1919 - 1949 was the New Cultural Era, 1949 -1979 was the Red Era, and 1979 - 2009 was the No Criteria Era. In the first stage, due to the impact of the May Fourth New Culture Movement, Chinese traditional culture has been overall criticized by the elite. Western liberal thought was infused into Chinese art, and was enthusiastically and fully accepted, which marked Chinese contemporary art’s saddest period. In the second stage, China's culture and art faithfully served  the politics.  The arts became a propaganda tool and a weapon to attack political opponents, which was Chinese culture and art funniest stage. In the third stage, after being imprisoned for decades, Chinese culture and art have been fully liberated.  Excessive freedom has kept pace with China's economic growth, which has led to the development of the Pan-Art phenomenon to the extent that there is no bottom line. This is the most confused and vulgar era in the history of Chinese culture and art.

 

Chinese contemporary art education has evolved under this background. The artistic heritage of nearly a thousand years was outrageously replaced by “painting training". "Naked" somehow became the supreme art symbol. Each year thousands of teenagers, who have no real connection with the arts, after a variety of training courses, are "processed "and wear the ‘qualified’ label, are now the influencers in China today. With only rote training without a nurturing educational background, the technical methods and forms become of the utmost importance, and the aesthetic has been relegated to depraved and baseless. It was during this period, that art was associated  with politics, roughness, confussion, rebellion, uglyness, pornography  and dirt.

 

From this perspective, Zhao Liaoliao was lucky, she loved painting since childhood, and has not been sent to the so-called "professional" labeling "factory" in art training; She has been protected inside of her natural aura. Zhao never put up a fuss of painting as something special. In her and her friends’ eyes, painting is a language used to communicate; they write diaries and make friends with a pictures. They pass a message of friendship to each other with drawing. So starting in 2011 her paintings started to spread on the internet, loved by many people. 

 

Zhao’s paintings have a brilliant bright temperament, the mood whether emanating from shapes or colors are all like a clear dream. But the themes of those works are also infused with reality. The artist through an almost naive longing, brings the interpretation of some of her thinking of reality. In the painting "Swan Boats", a lonely person holding a loving heart, hiding in the belly of the swan boat, surrounded by a quiet, but full of danger signals to stimulate the viewers to produce expectations of love.

 

Chinese contemporary art, which appeared in post eighty and ninety generations number of young pure artists. This is a Chinese culture blessing to let us see growing up in the the most tumultuous era generation, having ancient Chinese literati temperament which is not stained even in the mud. Simply happy life and upbringing, seems to have their hearts closer to the arts. The arts for them, is no longer a fuss or anger and complaining. To Zhao, colors and brush strokes are like musical notes; They are her songs.