In 1994, Zhou Chunya got a shepherd dog named "Heigen" from his friend. Since then Heigen entered the life of its new master and became his important companion. Zhou Chunya has also begun to concern about life of surrounding people and himself and begun his creation of "Heigen" series and the theme has become Zhou Chunya's favorite theme for creation later. After the year of 1997, Heigen rose to fame through the image of "Green Dog" and the dog has become one of the important images and signs for Zhou's creation. The most relevant "Peach Blossom" series have also been derived from "Heigen" series. In a sense, the appearance of Heigen in 1994 is a key turning point in Zhou Chunya's artistic career. For many times, Zhou Chunya has told friends about Heigen's story as well as creation enthusiasm and affection that inspired by Heigen.

"Drawing of a face is just like drawing of a stone: I will consider the appearance and image in many ways. In both cases, the theme is a thing. Drawing of Heigen can enliven me up."

"Urban life is peaceful and leisurely. In such gentle pace of creation, only Heigen can be my best companion. I have endowed all my bold and weird imagination to this dog. Till 1999 when Heigen died of an illness, I was so sorry that I could not paint for one year and a half." (said Zhou Chunya)

1999 is the year when the painter was in the greatest depression, as Heigen died of an illness. For Zhou Chunya, it is just like the death of a son. As he said, for many times he felt "dark around". In his life, there are two things hurting him most. One is the death of his father in 1969 and the other is the death of Heigen. Nothing can comfort him. In view of painting, the direct impact is a cessation of his creation of "Heigen" series.

Inanaly sisa bout Zhou Chunya's developmental lines of creation, Heigen is a symbol for integration of his thoughts that is endowed with life as well as a paramount element in his creation. The period before and after Zhou Chunya went to study in Germany is the stage integrating his cultural inclination and cultural sense. Before that, Zhou was interested in Western artistic method and artistic school. At that time Zhou thought that expressive strength had strong permeation and attraction for the young artists. After Zhou returned to homeland, he was soaked in traditional Chinese soil, seemingly compensating the spiritual imbalance brought about by loss of traditional Chinese context due to long stay aboard. His soil of growth contains civilization, traditional culture and living habit. For Zhou Chunya, he needs such civilization, traditional culture and living habit. Such need is so urgent and indispensable that fresh energy can be release only by deep understanding and experience about the interior spirit contained in his integrated context.

Zhou Chunya created Heigen in many postures: frolicking, playing, running, standing, or nestling beside the host or hostess to crave for petting. Natural and happy way of life emanates from the painting. As Heigen's master and friend, Zhou Chunya has been influenced by Heigen's nature. His life has been integrated with Heigen. In the painting, Heigen's life status is the reflection of Zhou Chunya's life and creation status at that time. "Frisking Heigen" is Zhou Chunya's works in this period. The triangle belt composed of Heigen's three postures is at the center of the painting. Grayish background, as well as the coarse and fast outline, is the common point of Heigen series. Zhou Chunya had tried his best to reduce light-and-shade change of Heigen's body, maintaining overall massiveness of the works.