Having grown up among ethnic groups, Zeng is familiar with their life and has developed strong feelings towards them. Minority girls are a major theme of Zeng's paintings he is especially fond of classical realism; a means through which he believes can thoroughly and delicately express his feelings. He stresses careful depiction of his characters' eyes and hands, because he feels that eyes and hands vividly and truly reflect a human being's soul. Characters in his works are often quiet and melancholy, a feeling projected by the brown or grayish blue backgrounds. Zeng is expert at passing on his feelings and attitudes towards life through the tone of colours. Zeng's style is a kind of cold abstractionism for realistic paintings.

With the current global recession, it is true to say that the days of paintings reaching double and treble their estimates are few and far between, however, because many acquisitions departments are now buying Chinese Contemporary of the post 1989 genre, the established new elite have managed to retain that value. Zeng Chuanxing, whose beautifully serene depictions of ‘paperbrides’ are attracting much attention, mostly because of their honesty and beauty, but also because of the expert way in which they are painted, the canvas dripping with emotion and feeling. The surge in sales and interest of Contemporary Chinese Art is heralded by many as a refreshing new direction away from the sensationalist Brit Art that dominated the 90’s art scene. Western museums, major public art galleries and collectors – including Frank Cohen, Jay Jopling, Charles Saatchi and Tate Liverpool - have been capitalising on the unprecedented attention lavished on Chinese contemporary Art.