During the late Taishō period, three Guangdong-born Chinese artists, Guan Liang 關良 (1900–1986), Tan Huamu 譚華牧 (1896–1976), and Ding Yanyong 丁衍庸 (1902–1978), were studying in Tokyo, Japan. After their return to China, they engaged daily in a kind of cross-media practice in oil and ink paintings that serves to remind us of the need to rethink the cultural experiment that China’s modern art movements have undertaken since the 1920s, and which has thus far been overlooked. In the face of the sudden rise of attention towards literati paintings in the Japanese art world, and in the midst of the Western modern art currents that were centered in Paris, these Japan-trained artists, with their comparative cultural perspectives, began to re-examine their own cultural tradition and form a cross-media creative model with an intrinsic cultural reflectiveness and innovative outlook. Moreover, the phenomenon of the “Tōyō review” 東洋回顧 that emerged from the intense interactions between the cultures of East and West not only brought about the concept of “Chinese painting,” but also led to the rise of the notion of the “superiority of Chinese art.”
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Beijing Academy of Art 北京畫院, ed. Gaomiao chuanshen: Guan Liang huihua yishu yanjiu 高妙傳神:關良繪畫藝術研究 (Lofty and Expressive: Research on Guan Liang’s Art). Nanning: Guangxi meishu chubanshe, 2015 .
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Hashimoto Kansetsu 橋本関雪. Kansetsu Zuihitsu 關雪隨筆 (The Collected Essays of Kansetsu). Tokyo: Chūō Bijutsusha, 1925.
Inaga Shigemi 稲賀繁美. “Hyōgenshugi to kiin seidō: Hokushin jihen kara taishōmatsunen ni itaru Hashimoto Kansetsuno kiseki to kyōtoshinagaku no shūhen” 表現主義と気韻生動-北清事変から大正末年に至る橋本関雪の軌跡と京都支那学の周辺 (Expressionism and Kiinseidō by Hashimoto Kansetsu from the Boxer Rebellion to the end of the Taishō Era). Nihon Kenkyu 日本研究 51 (March 2015): 97–125.
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Matsutani Shozo 松谷省三. “Xu Beihong dongdu Riben de shouhuo” 徐悲鴻東渡日本的收穫 (Xu Beihong’s Travel to Japan and the Reward). Translated by Liu Xingyu 劉幸宇. Waiguo wenti yanjiu 外國問題研究1 (1996): 5–7.
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Mo Yidian 莫一點. “Shisheng qingyuan hua dangnian—huainan Ding Yanyong laoshi (1902–1978)” 師生情缘話當年——懷念丁衍庸老師 (1902–1978) (Between Teacher and Student—Remembering My Teacher Ding Yanyong [1902–1978]). In Ding Yanyong bixia de huahuashijie 丁衍庸筆下的花花世界 (The Variegated World of the Art of Ding Yanyong), 10. Hong Kong: Yidian huashi, 2009.
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Ni Yide 倪貽德. Yiyuan jiaoyou ji 藝苑交遊記 (The Records of Friendship in the Art Circles). Shanghai: Shanghai liangyou tushu yinshua gongsi, 1936.
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During the late Taishō period, three Guangdong-born Chinese artists, Guan Liang 關良 (1900–1986), Tan Huamu 譚華牧 (1896–1976), and Ding Yanyong 丁衍庸 (1902–1978), were studying in Tokyo, Japan. After their return to China, they engaged daily in a kind of cross-media practice in oil and ink paintings that serves to remind us of the need to rethink the cultural experiment that China’s modern art movements have undertaken since the 1920s, and which has thus far been overlooked. In the face of the sudden rise of attention towards literati paintings in the Japanese art world, and in the midst of the Western modern art currents that were centered in Paris, these Japan-trained artists, with their comparative cultural perspectives, began to re-examine their own cultural tradition and form a cross-media creative model with an intrinsic cultural reflectiveness and innovative outlook. Moreover, the phenomenon of the “Tōyō review” 東洋回顧 that emerged from the intense interactions between the cultures of East and West not only brought about the concept of “Chinese painting,” but also led to the rise of the notion of the “superiority of Chinese art.”
All Time | Past 365 days | Past 30 Days | |
---|---|---|---|
Abstract Views | 1206 | 164 | 17 |
Full Text Views | 463 | 2 | 0 |
PDF Views & Downloads | 146 | 7 | 1 |