In recent years, the field of curating has undergone significant shifts, as exhibitions are increasingly seen not just as displays of objects, but as spaces for cultural dialogue, social practice, and potential political engagement. Inspired by these changes, Jingwei Zeng has introduced an academic pathway he refers to as cross-cultural curation on literati aesthetics (文人美学跨文化策展). This approach aims to connect the refined traditions of Chinese literati art with contemporary public education and global cultural discourse.
I have observed that Zeng’s artistic and scholarly practice appears to continue and build upon the vitality of literati painting. While figures such as Pu Ru (1896–1963) and Liang Shuming (1893–1988) are often regarded as the final representatives of classical literati culture, Zeng seems to demonstrate that the literati spirit remains alive and potentially “strong and vibrant,” manifesting in both his artistic creation and daily practice. He writes letters in classical Chinese, composes poetry in traditional forms for his paintings, and even uses a brush to write in English—practices that are relatively rare today—earning him the description of a “modern incarnation of the ancient literatus” (今之古人).
Yet Zeng’s work appears to extend beyond tradition alone. In his Eight Views of America series, he seems to apply Yang Sheng (ca. 8th century AD)’s “boneless” technique—painting color directly without relying on ink as structural “bones”—to Yellowstone’s Grand Prismatic Pool; employs Xu Wei (1521–1593)’s bohemian, freehand brushwork for Monument Valley; and uses Shitao (1642–1707)’s bold, expressive color for Hawai’i’s Na Pali Coast. These works retain the elegance, spontaneity, and subtlety of classical literati painting while capturing the vitality and immediacy of contemporary scenes. Through these pieces, Zeng appears to challenge colonial narratives by placing Chinese literati art at the center, rather than marginalizing it. Unlike those who practice reappropriation or Americanization of Chinese art, he attempts to bring the authentic literati spirit to the United States, allowing it to speak on its own terms. His work exemplifies a fusion of ancient aesthetics with a modern vision, demonstrating a literati practice that is historically rooted yet globally engaged.
Zeng’s curatorial projects at the University of Wisconsin–Milwaukee provide a compelling illustration of this vision. His exhibition Open Parameters: Late Nineteenth and Early Twentieth Century Chinese Calligraphy and Painting from the Zhou Cezong Donation brought to public light a noteworthy collection of modern literati works. Rather than presenting these scrolls and paintings as isolated artifacts, Zeng situates them within a broader narrative about cultural continuity, aesthetic dialogue, and the transnational lives of Chinese intellectual traditions. The exhibition was intended not only as a scholarly contribution but also as an invitation for audiences to experience literati culture as a living practice.
This effort extended beyond the gallery. Through the Asia in Conversation series at UWM, Zeng organized public dialogues, workshops, and lectures that shed light on the continuing relevance of Chinese literati art. Through a series of calligraphy workshops for students and community members, including a session in Professor Hui Martin’s class at the University of Missouri–Kansas City, he created dynamic spaces for cultural exchange, where participants had the opportunity to engage with brush and ink as instruments of thought, reflection, and communication—reviving the literati tradition as a shared human practice rather than a distant cultural inheritance—and, as explored in his publication The Influence of American Nationalism on Mark Tobey’s Sumi Art, showing how East Asia can serve as a pivotal lens to understand broader geopolitical and cultural dialogues. These sessions were framed not only as demonstrations of technique but also as active platforms for reflection, dialogue, and creative experimentation, allowing participants to experience the continuing relevance and transformative potential of Chinese literati art in a contemporary global context.
Zeng’s work resonates strongly with the idea of curatorial activism, a term describing practices that challenge dominant narratives and attempt to give voice to marginalized cultures. As Zeng has argued, curating can serve as a counter-hegemonic practice, offering “strategies of resistance” that confront exclusion and amplify diversity. He positions Chinese literati aesthetics within this activist framework. His dual activism—embedding Chinese literati culture within the American landscape while also engaging global audiences—appears to redefine curatorial practice. By foregrounding literati art, he emphasizes that genuine cultural diversity must include traditions that are at risk of being overlooked in both East and West. At a time when literati culture is losing ground not only in the United States but also within China itself, his exhibitions and educational initiatives reinforce its relevance. By framing literati art as a global cultural resource, he broadens the Western-centered canon of art history and fills in gaps left by contemporary Chinese curatorial practices, where the integration of “Three Perfections: poetry, calligraphy, and painting as one” is often not present.
At the same time, Zeng’s curatorial activism is not unilateral. While he works to embed Chinese and East Asian literati culture within the American cultural landscape, he also seeks to bring Western art into dialogue with audiences in both China and the United States. Recently, he has begun producing bilingual video content that introduces Western masterpieces: in English, through YouTube, for global and Western viewers; and in Chinese, through WeChat, for audiences in China. In this way, Zeng demonstrates that cross-cultural curation is not merely about relocating Chinese traditions abroad, but about fostering a two-way exchange—allowing East and West to learn from each other, and enabling audiences on both sides to encounter art with fresh perspectives.
Beyond these structured projects, Zeng also embodies literati practice in daily life. Having lived in the United States for the past five years without the convenience of a car, he has nonetheless brought his family to museums, universities, and cultural sites across the country—turning each journey into an opportunity to encounter, reflect upon, and share art. He generously contributed wherever he can to bolster public understanding of Chinese literati culture and art, and this commitment has drawn the recognition and support of leading scholars such as Cho-yun Hsu, Kathrine Burnett, Pamela Crossley, Tianlong Jiao, and An-Yi Pan, along with other prominent experts of Chinese art in the U.S. Their recognition affirms not only the scholarly value of his research but also the broader cultural significance of his efforts to sustain literati traditions in a contemporary setting. Zeng’s work bridges academic study, artistic practice, and curatorial leadership, demonstrating how a single individual can carry forward a centuries-old cultural legacy while making it newly resonant for American audiences. His role at the Global Tea Institute (GTI) at UC Davis—where he curated an exhibition of Japanese tea ware—further illustrates his ability to cross boundaries within East Asian art while deepening the visibility of literati aesthetics across traditions. In this way, Zeng has become a vital cultural mediator, expanding the reach of literati art beyond the borders of China and ensuring its continued relevance in the global discourse of art and identity.
In today’s art world, where mainstream narratives often privilege Euro-American modernism and tend to overlook non-Western traditions, curatorial activism offers a much-needed corrective. Zeng’s pathway of cross-cultural curation on literati aesthetics illustrates how curators can both safeguard cultural legacies and open them up to new forms of public engagement. It shows that exhibitions can serve as spaces of empowerment—where communities rediscover their voices, and where traditions like literati art can inspire fresh visions of cultural diversity and global dialogue.
Zeng’s work reminds us that the task of the curator is not neutral. To curate is to take a position, to foster awareness, and to imagine more inclusive futures. In championing literati aesthetics as part of global cultural discourse, Zeng has highlighted the activist potential of curating—bridging past and present, China and the world, scholarship and community. His projects offer insight into a path forward for curators everywhere: a path where art is not only preserved but activated, and where curatorial practice becomes a force for cultural justice.
