The 1933 Chinese Art Exhibition in Paris played a crucial role in establishing the category of “modern Chinese painting” in Europe. Opened at the Musée Jeu de Paume in May 1933, the Exposition de la Peinture Chinoise was the first large-scale exhibition of Chinese art in France. It attracted unprecedented numbers of viewers, and afterwards the museum founded a Chinese art gallery. Motivated by the success of earlier Japanese art exhibitions in Paris, the curator Xu Beihong (1895-1953) collaborated with French art museums, private collectors and Chinese artists to organize this show. By analyzing its visual and textual narratives, I argue that this exhibition was shaped by three factors: the international politics between France, Japan, and China; the complex social network among Chinese artists; and the personal vision of the curator. It was through the interaction and competition among various agents and institutions that the category of “modern Chinese painting” was created in the early 20th century.
Stephanie Su is an Assistant Professor of Asian Art at the University of Colorado, Boulder. Her research interests include global modernism, historiography, the history of display and collecting, and cultures of color. Her book manuscript, Entangled Modernities: Constructing East Asian Classicism in Early Twentieth Century Chinese and Japanese Art, examines how regional identity and historical connections across East Asia led to the formation of modern nations and arts. Her second project, Colors of Modernity: Changing Aesthetics in Meiji Japanese Prints, explores the impact of the global trade network on the late 19th century Japanese prints. Her articles have appeared on the Frontier of Literary Studies in China, The Art Bulletin (forthcoming), Kimono in Print: 300 Years of Japanese Design, and among others.
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good afternoon everyone or good evening
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good morning depending on what time zone
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you're logging in from
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i'm michael berry i'm a professor here
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at ucla in the department of asian
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languages and cultures and director
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of the center for chinese studies it's
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my great pleasure to welcome everyone to
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today's event
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the center has had a series of events
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online over the last several months and
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moving forward we have a lot of
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other exciting programming coming
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upcoming talks
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include professor bing jian xiong
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professor baijin yong
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professor robert hagel professor
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yin zhong huang and jida awai a writer
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and professor in taiwan
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lot of videos
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after the fact but thank you again for
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everyone's support of the center of
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chinese studies
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today's lecture will be in two parts
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we will begin with the lecture proper
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and then we will open it up for a q a
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and for the q a i'm going to ask that
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people type their questions in the q
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a box which you will find on the lower
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portion of your screen
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and it's also my pleasure to be
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introducing today's moderator of the
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event
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who is my dear colleague professor
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huizhuli
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from the department of art history at
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ucla she
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is a specialist in song dynasty art and
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painting
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she is the author of many articles and
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several books including
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exquisite uh moments of westlake and
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southern song art and empress art agency
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and song dynasty china and so without
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further ado i will turn it over to
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professor lee who will be introducing
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today's speaker
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uh hi everybody uh thank you michael and
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thanks
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uh esther who been coordinating
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and most of all thank professor stan
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stephanie
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uh sue we were i think uh
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old friends already right almost a
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couple decade
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so she's much younger so i kind of
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feel an old friend and also know her
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scholarship
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very well um she is
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one of a kind very um
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as a very approach i mean she is one of
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the
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kind of um modernists in our field in
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charge
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uh but uh she took a very uh kind of
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unique approach um we kind of um not
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just cover
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china but uh i know she spent extensive
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time uh researching japan
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uh in france and in england i mean uh
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very envious she's everywhere anyway
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and so she said that uh now
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um i mean actually uh
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very updated uh more kind of a global
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modernism um so uh i really am
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very um thankful that she agreed and
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um to give this talk and we changed the
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topic
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uh one time and again the
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special thanks to her because she kind
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of tried to cater
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for we have a big class going on i'm
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teaching already modern contemporary
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china now
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and as a matter of fact this means we
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just
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cover um shibekong and the
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lymphoma and the kind of early
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modernist movement in china 2030s
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so uh what can be more you know timely
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that stephanie is going to talk about
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the 1933
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uh chinese art exhibition in paris
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um so uh the professor
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sue has uh published quite a number
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article in earliest major
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in a journal of our field and
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i know um original her topic is more
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related to
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her first book and i believe she you
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know
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has been working on that for uh uh quite
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some time
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is uh either completed or you know it's
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coming out soon
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meanwhile she's the second project going
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on so her um
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the this book project uh called
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entangled
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modernity constructing east asian
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classicism
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in early 20th century chinese and
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japanese are
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um i'm really looking forward to this
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uh because europeans serve as a kind of
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a model
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for uh all the asian countries so
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uh there are a lot of uh um
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comparatively
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speaking more research on japan but the
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between china and japan is really i
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think uh stephanie is really the pioneer
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on this subject meanwhile she has a
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second book project
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uh going on uh titled colors of
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modernity
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changing aesthetics in meiji japanese
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prints
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um i know nothing about it but
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i also look forward to it so um
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the um today she's going to present
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um um the talk
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um title exhibition as an art historical
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space
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the 1933 chinese art exhibition in paris
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okay so now i'm going to turn to you
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know our
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uh precious speaker today professor
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uh stephanie sue so let's welcome her
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thanks rachel for your very introduction
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and invitation
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from the center for chinese studies i
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spent some time before and during my
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study in chicago
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it's really nice to be back
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okay i'm going to begin my talk
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with two pictures from the exhibition
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this chinese art exhibition was opened
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on may 10th
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1933 at the musee du jour bomb in paris
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it attracted so many visitors that
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eventually
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it was extended two weeks longer to 45
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days
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at the end more than 30 000 visitors can
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and the catalog was reprinted three
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times
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after the show more chinese art
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exhibitions took place in other european
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cities
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including berlin in 1934
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london in 1935 meden in moscow and so on
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this exhibition in paris marked an
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important moment
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in the presentation and reception of
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chinese painting in europe
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after the show judah bone purchased 12
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paintings
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from the exhibition and established the
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first chinese art gallery
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in france for in france example
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germany italy and the soviet union also
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created chinese art galleries
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showcasing modern chinese painting
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what makes this chinese art especially
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in paris especially intriguing
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is the chinese curator's may 1933
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article
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in the french journal this article is
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titled
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banjo shinoahs it outlined a brief
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history of chinese art
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it was the first article written in
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french by a chinese artist
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yet today he has not been discussed
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so together with the exhibition and the
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article provide an insight into the
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relationship between exhibition
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and our historical writing
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in today's talk i'm going to ask the
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following questions
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first what were the curatorial and
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textual strategies
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to present the history of chinese
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how do you reflect international
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politics between france
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china and japan how was it received
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by french chinese and japanese viewers
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and what was its impact we examined the
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materials in chinese french and japanese
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um in the 1930s and provide a rich
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archive
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of possible answers
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my talk today aims to illuminate the
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role the
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exhibition plays in the internet
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intertwined issues
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of visual practices or historical
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narratives
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and international politics in modern art
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my place is that in an exhibition
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objects are assumed
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to bear winners to the collective
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memories of a people
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or a nation so every object is seen as a
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fragment
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of the whole pointing to an imagined
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past
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connecting the present with a pet of
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other future
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the fictional narrative created by
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objects in the exhibition
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furthermore suggests the power
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relationship between the viewer
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and the representing other tony bennett
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argues that the exhibition provides a
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romantic image of the other
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for the confirmation of the viewer's
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superiority
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his observation leads to the discourse
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of
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orientalism this awardsaid proposed
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in southeast definition orientalism
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refers to europe america's imaginations
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in fantasies of other regions called the
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orient in this european epistemology
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the orange was both an object of
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admiration
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and also a rhetoric of the past
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the um in this kind in this idea that
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the orange has no real contemporarity
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since its present is a simple
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reproduction of its past
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in an increasingly globalized world
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constructing differences
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remain an important strategy for artists
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even when they are presenting their own
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culture
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and we see this phenomena from the
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wolves affairs
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of wars fairs in the 19th century to a
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contemporary
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vinyls in different cities kieran jones
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in her study on the relationship
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during the artwork and global exhibition
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culture she observes
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the artists often use assimilated
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languages
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of international art to speak of
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difference
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she will summarizes the paradox of
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quote pure difference cannot exist
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difference can only register a search
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within the recognizable end quote
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in the chinese art exhibition paris
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chinese artists also utilize the
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strategy of difference and
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similarity in order to engage french
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viewers
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however in today's talk i'm going to
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emphasize a more dynamic and complex
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00:10:31,440 --> 00:10:35,200
flow
280
00:10:32,240 --> 00:10:36,320
of ideas and agents rather than treating
281
00:10:35,200 --> 00:10:38,560
chinese artists
282
00:10:36,320 --> 00:10:39,519
passively responding to french viewers
283
00:10:38,560 --> 00:10:41,920
imagination
284
00:10:39,519 --> 00:10:43,600
of the east and reading is actively
285
00:10:41,920 --> 00:10:46,880
constructing the category
286
00:10:43,600 --> 00:10:47,279
of modern chinese painting the problem
287
00:10:46,880 --> 00:10:49,680
with
288
00:10:47,279 --> 00:10:52,240
is orientalism is that he treated the
289
00:10:49,680 --> 00:10:54,959
orient as a passive agent
290
00:10:52,240 --> 00:10:56,959
this perspective undermines the fact
291
00:10:54,959 --> 00:10:59,120
that since the mid-19th century
292
00:10:56,959 --> 00:11:00,240
objects and ideas from east asia have
293
00:10:59,120 --> 00:11:02,399
been introduced
294
00:11:00,240 --> 00:11:03,920
and integrated into the visual culture
295
00:11:02,399 --> 00:11:07,440
of europe
296
00:11:03,920 --> 00:11:10,160
as every every third league argues
297
00:11:07,440 --> 00:11:11,839
the orient also play a critical role in
298
00:11:10,160 --> 00:11:15,440
the european discourse
299
00:11:11,839 --> 00:11:16,079
on orientalism so in today's talk i'm
300
00:11:15,440 --> 00:11:18,480
going to
301
00:11:16,079 --> 00:11:19,279
first i'm going to unpack the multiple
302
00:11:18,480 --> 00:11:23,279
forces
303
00:11:19,279 --> 00:11:25,360
intersected in the 1933 exhibition
304
00:11:23,279 --> 00:11:27,200
that contributed to the collection and
305
00:11:25,360 --> 00:11:28,079
display of modern chinese plant in
306
00:11:27,200 --> 00:11:30,399
europe
307
00:11:28,079 --> 00:11:32,959
i'll first offer an overview of the
308
00:11:30,399 --> 00:11:34,880
french english writings on chinese art
309
00:11:32,959 --> 00:11:38,160
in order to understand how chinese
310
00:11:34,880 --> 00:11:40,240
painting was perceived in general
311
00:11:38,160 --> 00:11:42,000
and found in following that i'm going to
312
00:11:40,240 --> 00:11:43,680
analyze the curatorial
313
00:11:42,000 --> 00:11:45,040
and rhetorical strategies of the
314
00:11:43,680 --> 00:11:47,360
exhibition and
315
00:11:45,040 --> 00:11:49,839
examine its reception in french chinese
316
00:11:47,360 --> 00:11:52,240
and japanese media
317
00:11:49,839 --> 00:11:53,839
and then i'm going to conclude with my
318
00:11:52,240 --> 00:11:56,720
own observation on its
319
00:11:53,839 --> 00:11:58,399
impact and its implication of
320
00:11:56,720 --> 00:12:02,800
sino-japanese relationship
321
00:11:58,399 --> 00:12:04,959
in europe it is worthwhile to note that
322
00:12:02,800 --> 00:12:07,279
these specific or historical
323
00:12:04,959 --> 00:12:09,680
perspectives show that the exhibition
324
00:12:07,279 --> 00:12:10,720
is inseparable from the chinese artist
325
00:12:09,680 --> 00:12:12,800
and curator
326
00:12:10,720 --> 00:12:16,000
shibehong's agenda which i will
327
00:12:12,800 --> 00:12:16,000
articulate in my talk
328
00:12:16,720 --> 00:12:20,720
european narratives about chinese art
329
00:12:18,560 --> 00:12:21,600
from the late 19th century to early 20th
330
00:12:20,720 --> 00:12:24,959
centuries
331
00:12:21,600 --> 00:12:27,120
were infused with certain assumptions
332
00:12:24,959 --> 00:12:28,800
the concept of chinese art in europe as
333
00:12:27,120 --> 00:12:32,800
art historian diligent
334
00:12:28,800 --> 00:12:35,920
argues primarily refer to crafty artists
335
00:12:32,800 --> 00:12:38,399
or decorative arts um
336
00:12:35,920 --> 00:12:40,240
you join her study of two influential
337
00:12:38,399 --> 00:12:43,920
books in france and britain
338
00:12:40,240 --> 00:12:46,480
there is mo mohi's body logs ochsner
339
00:12:43,920 --> 00:12:47,040
and stephen bush's chinese art their
340
00:12:46,480 --> 00:12:50,399
interests
341
00:12:47,040 --> 00:12:53,519
center mostly on sculpture
342
00:12:50,399 --> 00:12:56,800
bronze jade wood pottery
343
00:12:53,519 --> 00:12:58,959
glass enamel jewelries and textiles
344
00:12:56,800 --> 00:13:00,959
with a very small potion devoted to
345
00:12:58,959 --> 00:13:02,560
pictorial art
346
00:13:00,959 --> 00:13:04,079
in china painting calligraphy were
347
00:13:02,560 --> 00:13:05,279
considered as the height of film of
348
00:13:04,079 --> 00:13:07,360
349
00:13:05,279 --> 00:13:09,120
but for europeans like baliolog and
350
00:13:07,360 --> 00:13:12,160
bouchelle they were thought
351
00:13:09,120 --> 00:13:14,399
to be still in a primitive stage
352
00:13:12,160 --> 00:13:16,079
and not have advanced much in hundreds
353
00:13:14,399 --> 00:13:18,320
of years
354
00:13:16,079 --> 00:13:19,120
um this is a quote from barley looks
355
00:13:18,320 --> 00:13:22,480
book
356
00:13:19,120 --> 00:13:22,880
hero that quote chinese artists have
357
00:13:22,480 --> 00:13:25,519
never
358
00:13:22,880 --> 00:13:27,040
appreciated the real substance of things
359
00:13:25,519 --> 00:13:30,160
in modeling or
360
00:13:27,040 --> 00:13:31,839
relieving the surface even at the finest
361
00:13:30,160 --> 00:13:34,480
apples of the art
362
00:13:31,839 --> 00:13:37,360
they have remained incapable of
363
00:13:34,480 --> 00:13:41,600
representing solid and living forms
364
00:13:37,360 --> 00:13:44,000
end quote ali law's opinion
365
00:13:41,600 --> 00:13:45,920
was later reproduced in bush's book the
366
00:13:44,000 --> 00:13:48,160
chinese art um
367
00:13:45,920 --> 00:13:49,519
he was a the curator of victoria urban
368
00:13:48,160 --> 00:13:52,560
museum at the time
369
00:13:49,519 --> 00:13:54,720
um but and then during the time when
370
00:13:52,560 --> 00:13:57,279
bhusha was writing this book
371
00:13:54,720 --> 00:13:59,279
gokai josh pending was already in the
372
00:13:57,279 --> 00:14:01,680
collection of the british museum
373
00:13:59,279 --> 00:14:02,399
so seeing this really fine work don
374
00:14:01,680 --> 00:14:05,199
jinyoung
375
00:14:02,399 --> 00:14:06,480
and stephen busho they actually have
376
00:14:05,199 --> 00:14:09,680
better viewpoints
377
00:14:06,480 --> 00:14:10,560
um on chinese bigger paintings than
378
00:14:09,680 --> 00:14:12,399
paleolog
379
00:14:10,560 --> 00:14:14,839
but still they thought chinese figure
380
00:14:12,399 --> 00:14:16,399
painting had not advanced much in later
381
00:14:14,839 --> 00:14:18,639
periods
382
00:14:16,399 --> 00:14:20,240
in contrast with their critical views on
383
00:14:18,639 --> 00:14:23,519
figure painting
384
00:14:20,240 --> 00:14:26,240
palalok los binyong and stephen busho
385
00:14:23,519 --> 00:14:28,079
they all appreciated landscape painting
386
00:14:26,240 --> 00:14:30,480
bird involved paintings and buddhist
387
00:14:28,079 --> 00:14:31,440
arts in china we've shown in this
388
00:14:30,480 --> 00:14:32,959
quotation
389
00:14:31,440 --> 00:14:34,639
that we should obviously think that
390
00:14:32,959 --> 00:14:36,560
chinese artists are very good at birth
391
00:14:34,639 --> 00:14:39,440
and fall paintings
392
00:14:36,560 --> 00:14:41,120
so in short french and british
393
00:14:39,440 --> 00:14:43,839
intellectuals generally
394
00:14:41,120 --> 00:14:45,360
criticize chinese figure painting but
395
00:14:43,839 --> 00:14:48,160
praise all the genres
396
00:14:45,360 --> 00:14:50,560
like landscape bird and flower and
397
00:14:48,160 --> 00:14:52,399
buddhist art
398
00:14:50,560 --> 00:14:53,600
chinese arty in france they were aware
399
00:14:52,399 --> 00:14:56,160
of this situation
400
00:14:53,600 --> 00:14:58,880
but besides presenting a viewpoint
401
00:14:56,160 --> 00:15:00,639
against the europeans perception
402
00:14:58,880 --> 00:15:02,560
chinese artists also feel that they
403
00:15:00,639 --> 00:15:05,839
needed to deal with the competition
404
00:15:02,560 --> 00:15:08,880
from japan they feel that the europeans
405
00:15:05,839 --> 00:15:09,760
only favored the japanese art this
406
00:15:08,880 --> 00:15:11,600
sentiment
407
00:15:09,760 --> 00:15:15,040
often appeared in many chinese artists
408
00:15:11,600 --> 00:15:18,160
writings in the 1920s and 30s
409
00:15:15,040 --> 00:15:21,199
um in the 1920s the japanese artist
410
00:15:18,160 --> 00:15:22,880
fujita tsukuharu already quite famous in
411
00:15:21,199 --> 00:15:26,000
the parisian art world
412
00:15:22,880 --> 00:15:28,720
and in 1932 japan became the first
413
00:15:26,000 --> 00:15:31,920
east asian country to have a permanent
414
00:15:28,720 --> 00:15:34,079
art gallery at french museums
415
00:15:31,920 --> 00:15:35,360
therefore japanese artworks were able to
416
00:15:34,079 --> 00:15:38,399
be exhibited
417
00:15:35,360 --> 00:15:39,920
side by side with french art
418
00:15:38,399 --> 00:15:42,399
in seeing this development chinese
419
00:15:39,920 --> 00:15:44,639
artists were very of disappointment uh
420
00:15:42,399 --> 00:15:46,399
very disappointed for example chang shu
421
00:15:44,639 --> 00:15:49,680
hong wrote in his article
422
00:15:46,399 --> 00:15:52,000
quote in all arm using in france i have
423
00:15:49,680 --> 00:15:55,040
never seen any chinese painting
424
00:15:52,000 --> 00:15:55,920
in 1922 i bought a ticket to visit a
425
00:15:55,040 --> 00:15:59,120
museum
426
00:15:55,920 --> 00:16:01,920
we only exhibited japanese painting
427
00:15:59,120 --> 00:16:02,639
i i had no other choice but to force
428
00:16:01,920 --> 00:16:06,839
myself
429
00:16:02,639 --> 00:16:08,240
to stand in front of japanese art end
430
00:16:06,839 --> 00:16:10,800
quote
431
00:16:08,240 --> 00:16:12,079
another artie doha su also expressed
432
00:16:10,800 --> 00:16:14,639
similar opinions
433
00:16:12,079 --> 00:16:15,600
quote the cultural history of japan is
434
00:16:14,639 --> 00:16:17,839
quite short
435
00:16:15,600 --> 00:16:19,040
and their paintings are just copies of
436
00:16:17,839 --> 00:16:20,880
all art
437
00:16:19,040 --> 00:16:23,120
but recently europeans have seen
438
00:16:20,880 --> 00:16:26,240
japanese art as a rising form
439
00:16:23,120 --> 00:16:27,440
of modern art whenever they talk about
440
00:16:26,240 --> 00:16:29,440
asian art
441
00:16:27,440 --> 00:16:31,759
europeans show that they only know about
442
00:16:29,440 --> 00:16:35,440
japan not china
443
00:16:31,759 --> 00:16:38,560
fujita suguha's artwork is simple boring
444
00:16:35,440 --> 00:16:39,519
but it attracts europeans curiosity in
445
00:16:38,560 --> 00:16:42,160
china
446
00:16:39,519 --> 00:16:43,920
every artist can draw such a weak lines
447
00:16:42,160 --> 00:16:46,160
end quote
448
00:16:43,920 --> 00:16:48,320
shibehong the curator of the 1933
449
00:16:46,160 --> 00:16:50,880
chinese art exhibition in paris
450
00:16:48,320 --> 00:16:52,160
also shared a similar opinions
451
00:16:50,880 --> 00:16:54,079
throughout the whole process of
452
00:16:52,160 --> 00:16:54,800
preparation shivang often complained
453
00:16:54,079 --> 00:16:58,079
about
454
00:16:54,800 --> 00:17:00,160
the french organizer ontario disagree
455
00:16:58,079 --> 00:17:01,120
who doubted these chinese art exhibition
456
00:17:00,160 --> 00:17:03,920
could be as
457
00:17:01,120 --> 00:17:05,600
successful as the japanese one had been
458
00:17:03,920 --> 00:17:08,160
in 1929.
459
00:17:05,600 --> 00:17:09,280
the desert was reservation about this
460
00:17:08,160 --> 00:17:10,959
exhibition
461
00:17:09,280 --> 00:17:12,799
seemed to make she believe that the
462
00:17:10,959 --> 00:17:13,439
french really just care about japanese
463
00:17:12,799 --> 00:17:16,160
art
464
00:17:13,439 --> 00:17:18,240
so she argued in another article that um
465
00:17:16,160 --> 00:17:20,319
those japanese are exhibitions
466
00:17:18,240 --> 00:17:21,280
in france were misleading because the
467
00:17:20,319 --> 00:17:23,600
japanese
468
00:17:21,280 --> 00:17:24,559
intended to present themselves as the
469
00:17:23,600 --> 00:17:28,480
origin
470
00:17:24,559 --> 00:17:31,039
and representatives of east asian art
471
00:17:28,480 --> 00:17:32,799
so shibeh wrote in another article that
472
00:17:31,039 --> 00:17:35,919
one of his goals was to
473
00:17:32,799 --> 00:17:38,799
quote reveal the imitative nature of the
474
00:17:35,919 --> 00:17:41,919
japanese people end quote
475
00:17:38,799 --> 00:17:44,480
i'll argue however that the idea
476
00:17:41,919 --> 00:17:46,080
that japanese artists intended to deny
477
00:17:44,480 --> 00:17:48,960
chinese influence on japanese
478
00:17:46,080 --> 00:17:50,559
art in their overseas exhibitions should
479
00:17:48,960 --> 00:17:53,360
be read as a response
480
00:17:50,559 --> 00:17:54,640
driven by chinese patriot autism rather
481
00:17:53,360 --> 00:17:56,559
than fact
482
00:17:54,640 --> 00:17:58,559
the narratives of previous two japanese
483
00:17:56,559 --> 00:18:01,840
art exhibitions in paris
484
00:17:58,559 --> 00:18:03,520
in 1922 and 29 showed that actually
485
00:18:01,840 --> 00:18:07,600
japanese organizers
486
00:18:03,520 --> 00:18:07,600
openly immediate chinese influence
487
00:18:07,679 --> 00:18:11,840
the 1922 japanese are exhibition
488
00:18:09,600 --> 00:18:13,200
catalogue began with a brief history of
489
00:18:11,840 --> 00:18:15,919
japanese art
490
00:18:13,200 --> 00:18:18,080
and the introductory easy states the
491
00:18:15,919 --> 00:18:20,240
following quote
492
00:18:18,080 --> 00:18:21,200
the chinese renaissance in the 14th
493
00:18:20,240 --> 00:18:23,360
century
494
00:18:21,200 --> 00:18:24,960
contributed to the formation of grand
495
00:18:23,360 --> 00:18:27,520
landscape
496
00:18:24,960 --> 00:18:29,120
and genre paintings in japan which were
497
00:18:27,520 --> 00:18:33,360
known as the chinese school
498
00:18:29,120 --> 00:18:35,200
kanga end quote and then when
499
00:18:33,360 --> 00:18:37,600
when when they introduced the modern
500
00:18:35,200 --> 00:18:39,360
japanese arctic tarasaki kuyo again they
501
00:18:37,600 --> 00:18:41,679
attributed koyu's work
502
00:18:39,360 --> 00:18:44,080
to the inspiration from china during the
503
00:18:41,679 --> 00:18:47,280
song in yuan dynasty
504
00:18:44,080 --> 00:18:47,679
korya's work is shown in the image on
505
00:18:47,280 --> 00:18:50,640
506
00:18:47,679 --> 00:18:53,840
on the right this word is titled eight
507
00:18:50,640 --> 00:18:53,840
views of xiao
508
00:18:54,720 --> 00:18:58,160
the narratives in 1929 exhibition
509
00:18:57,520 --> 00:19:00,799
focused
510
00:18:58,160 --> 00:19:03,120
more on the unique japanese styles but
511
00:19:00,799 --> 00:19:06,640
still the importance of chinese art
512
00:19:03,120 --> 00:19:08,960
is not denied the
513
00:19:06,640 --> 00:19:11,600
introductory essay mentioned the infant
514
00:19:08,960 --> 00:19:11,919
chinese education on japanese culture
515
00:19:11,600 --> 00:19:14,080
and
516
00:19:11,919 --> 00:19:15,120
also modern japanese art so you can see
517
00:19:14,080 --> 00:19:17,120
here quote
518
00:19:15,120 --> 00:19:21,120
the modern artwork is tied to the
519
00:19:17,120 --> 00:19:24,160
aesthetics of the song dynasty end quote
520
00:19:21,120 --> 00:19:25,360
so as the above examples show japanese
521
00:19:24,160 --> 00:19:28,000
curators
522
00:19:25,360 --> 00:19:29,679
openly acknowledged the inference and
523
00:19:28,000 --> 00:19:33,120
inspiration from china
524
00:19:29,679 --> 00:19:34,240
unquote and during this decade the
525
00:19:33,120 --> 00:19:36,400
french government's
526
00:19:34,240 --> 00:19:37,440
attitude for foreign earth was also
527
00:19:36,400 --> 00:19:39,840
changing
528
00:19:37,440 --> 00:19:41,760
after the first world war france open
529
00:19:39,840 --> 00:19:42,960
hoped to consolidate international
530
00:19:41,760 --> 00:19:46,000
relationships with
531
00:19:42,960 --> 00:19:46,400
its allies and cultural activities could
532
00:19:46,000 --> 00:19:49,679
help
533
00:19:46,400 --> 00:19:53,520
facilitate this goal from
534
00:19:49,679 --> 00:19:56,720
1922 to 1939 the music usually boom
535
00:19:53,520 --> 00:20:00,000
was renamed the musee disagree etendra
536
00:19:56,720 --> 00:20:02,559
gondon reflecting now
537
00:20:00,000 --> 00:20:03,600
um would be his primary mission that is
538
00:20:02,559 --> 00:20:05,760
to showcase
539
00:20:03,600 --> 00:20:07,280
modern and contemporary foreign art for
540
00:20:05,760 --> 00:20:09,840
the french public
541
00:20:07,280 --> 00:20:12,080
but showing this foreign art is not just
542
00:20:09,840 --> 00:20:12,720
to bring in beautiful and new exciting
543
00:20:12,080 --> 00:20:16,720
artworks
544
00:20:12,720 --> 00:20:19,440
to friends actually through this kind of
545
00:20:16,720 --> 00:20:21,200
artistic exchanges the museum
546
00:20:19,440 --> 00:20:23,360
coordinated with the government
547
00:20:21,200 --> 00:20:25,679
so their programs best serve the
548
00:20:23,360 --> 00:20:27,440
political and diplomatic interests of
549
00:20:25,679 --> 00:20:29,360
france
550
00:20:27,440 --> 00:20:30,480
and other countries immediately grabbed
551
00:20:29,360 --> 00:20:32,880
his opportunity
552
00:20:30,480 --> 00:20:34,080
to work with judah bomb including spain
553
00:20:32,880 --> 00:20:36,880
switzerland italy
554
00:20:34,080 --> 00:20:38,240
japan and china so this chinese art
555
00:20:36,880 --> 00:20:40,159
exhibition in paris
556
00:20:38,240 --> 00:20:42,000
should be seen as part of the bigger
557
00:20:40,159 --> 00:20:45,039
ongoing cultural programs
558
00:20:42,000 --> 00:20:48,080
in france at that time
559
00:20:45,039 --> 00:20:50,240
the decay of 1920s and 30s were pivotal
560
00:20:48,080 --> 00:20:51,360
in introducing modern chinese art in
561
00:20:50,240 --> 00:20:54,000
paris
562
00:20:51,360 --> 00:20:55,120
in contrast with the previous effort to
563
00:20:54,000 --> 00:20:58,000
showcase
564
00:20:55,120 --> 00:20:59,600
old metal pieces the earliest attempt
565
00:20:58,000 --> 00:21:01,200
was the ancient and modern chinese art
566
00:20:59,600 --> 00:21:04,240
exhibition in strasbourg
567
00:21:01,200 --> 00:21:04,880
organized by the association of chinese
568
00:21:04,240 --> 00:21:08,559
artists
569
00:21:04,880 --> 00:21:10,320
in france in 1922 although this show did
570
00:21:08,559 --> 00:21:13,120
not receive much immediate attention
571
00:21:10,320 --> 00:21:14,240
but artists learn important lesson from
572
00:21:13,120 --> 00:21:17,200
this exhibition
573
00:21:14,240 --> 00:21:17,919
and then the next year in 1925 chinese
574
00:21:17,200 --> 00:21:20,080
575
00:21:17,919 --> 00:21:21,039
participated in the international
576
00:21:20,080 --> 00:21:23,840
577
00:21:21,039 --> 00:21:26,320
of decorative industrial arts that took
578
00:21:23,840 --> 00:21:28,080
place at konbalen
579
00:21:26,320 --> 00:21:29,440
and there was a more momentum building
580
00:21:28,080 --> 00:21:31,919
among chinese artists
581
00:21:29,440 --> 00:21:34,000
eventually sribeho and yohai su became
582
00:21:31,919 --> 00:21:37,200
the two major organizers
583
00:21:34,000 --> 00:21:39,520
responsible for exhibitions in europe
584
00:21:37,200 --> 00:21:41,120
the exhibitions shibehong and doha
585
00:21:39,520 --> 00:21:45,200
organized across europe
586
00:21:41,120 --> 00:21:48,400
between 1933 and 34 aimed at presenting
587
00:21:45,200 --> 00:21:48,400
modern chinese painting
588
00:21:49,520 --> 00:21:52,880
in many ways this exhibition reflected
589
00:21:51,679 --> 00:21:55,360
xi's personal view
590
00:21:52,880 --> 00:21:57,280
of chinese art at this time the
591
00:21:55,360 --> 00:21:59,200
nationalist government in china
592
00:21:57,280 --> 00:22:00,320
was still struggling with various
593
00:21:59,200 --> 00:22:03,039
domestic issues
594
00:22:00,320 --> 00:22:04,480
and social reforms so the government
595
00:22:03,039 --> 00:22:07,440
rejected the request
596
00:22:04,480 --> 00:22:10,799
to found this exhibition she had to
597
00:22:07,440 --> 00:22:13,039
raise funds for the event on his own
598
00:22:10,799 --> 00:22:15,039
eventually a private ecology in beijing
599
00:22:13,039 --> 00:22:17,440
and other individual donors
600
00:22:15,039 --> 00:22:20,400
sponsored this exhibition including the
601
00:22:17,440 --> 00:22:23,280
chinese ambassador to friends
602
00:22:20,400 --> 00:22:24,320
as you can see in the photo on the left
603
00:22:23,280 --> 00:22:26,320
and then the miss
604
00:22:24,320 --> 00:22:27,919
and the minister of education it's hard
605
00:22:26,320 --> 00:22:30,159
to jahua
606
00:22:27,919 --> 00:22:31,200
this situation made the organization
607
00:22:30,159 --> 00:22:33,679
more difficult
608
00:22:31,200 --> 00:22:35,760
but also gave you greater degree of
609
00:22:33,679 --> 00:22:38,559
freedom to structure the exhibition
610
00:22:35,760 --> 00:22:40,080
as he wished so to some degree it
611
00:22:38,559 --> 00:22:42,799
represented chinese government
612
00:22:40,080 --> 00:22:43,919
because you have high ranking officials
613
00:22:42,799 --> 00:22:46,880
they
614
00:22:43,919 --> 00:22:48,159
go ajin participated and helped
615
00:22:46,880 --> 00:22:50,640
organizing the show
616
00:22:48,159 --> 00:22:54,480
but at the same time it also strongly
617
00:22:50,640 --> 00:22:57,200
represented xi's own personal agenda
618
00:22:54,480 --> 00:22:58,559
she bailed on strategy to increase the
619
00:22:57,200 --> 00:23:00,720
importance of the event
620
00:22:58,559 --> 00:23:02,320
were to invite many political and
621
00:23:00,720 --> 00:23:05,520
cultural idiots in paris
622
00:23:02,320 --> 00:23:08,720
to participate for instance the famous
623
00:23:05,520 --> 00:23:11,039
finally the famous all right the famous
624
00:23:08,720 --> 00:23:13,440
writer paul bach for he
625
00:23:11,039 --> 00:23:14,480
wrote the previous for the exhibition
626
00:23:13,440 --> 00:23:17,760
catalogue
627
00:23:14,480 --> 00:23:20,720
and during the open reception many um
628
00:23:17,760 --> 00:23:21,360
politicians also culture these also also
629
00:23:20,720 --> 00:23:24,640
can
630
00:23:21,360 --> 00:23:28,559
they um like the minister of education
631
00:23:24,640 --> 00:23:29,120
here and other influential all critics
632
00:23:28,559 --> 00:23:31,600
such as
633
00:23:29,120 --> 00:23:33,120
gamiya mokle also wrote an exhibition
634
00:23:31,600 --> 00:23:35,360
review in the newspaper
635
00:23:33,120 --> 00:23:36,640
nafika home so the participation of
636
00:23:35,360 --> 00:23:40,000
those ed politicians
637
00:23:36,640 --> 00:23:42,400
intellectuals and why media coverage
638
00:23:40,000 --> 00:23:43,039
helped increase the french public
639
00:23:42,400 --> 00:23:47,039
interest
640
00:23:43,039 --> 00:23:48,720
in this show structurally the exhibition
641
00:23:47,039 --> 00:23:50,320
was composed of two parts
642
00:23:48,720 --> 00:23:52,320
the first part focused on ancient
643
00:23:50,320 --> 00:23:54,799
painting up to mean dynasty
644
00:23:52,320 --> 00:23:57,760
and the second part focus on modern art
645
00:23:54,799 --> 00:24:00,559
from the team to the contemporary period
646
00:23:57,760 --> 00:24:02,880
and all the ct6o paintings were borrowed
647
00:24:00,559 --> 00:24:05,679
from asian art collections
648
00:24:02,880 --> 00:24:06,159
such from the french army museum such as
649
00:24:05,679 --> 00:24:08,320
music
650
00:24:06,159 --> 00:24:10,720
may and mr duduf and the private
651
00:24:08,320 --> 00:24:13,039
collectors and dealers in paris
652
00:24:10,720 --> 00:24:16,840
and in terms of the modern art section
653
00:24:13,039 --> 00:24:18,559
all the 200 paintings were shipped from
654
00:24:16,840 --> 00:24:20,559
655
00:24:18,559 --> 00:24:22,080
an important feature of the ancient r
656
00:24:20,559 --> 00:24:24,559
section was the inclusion
657
00:24:22,080 --> 00:24:25,919
of buddhist painting by this time the
658
00:24:24,559 --> 00:24:28,960
french synologist
659
00:24:25,919 --> 00:24:31,039
pope belio had already returned from his
660
00:24:28,960 --> 00:24:33,360
adventure in central asia
661
00:24:31,039 --> 00:24:34,159
bringing with him many buddhist
662
00:24:33,360 --> 00:24:36,400
manuscripts
663
00:24:34,159 --> 00:24:38,080
and paintings and attracting french
664
00:24:36,400 --> 00:24:40,640
media's attention
665
00:24:38,080 --> 00:24:41,840
besides beirull other french collectors
666
00:24:40,640 --> 00:24:44,320
like his uni
667
00:24:41,840 --> 00:24:47,120
and amigurume to purchase buddhist
668
00:24:44,320 --> 00:24:50,080
sculptures and paintings in asia
669
00:24:47,120 --> 00:24:52,400
making paris an important city with high
670
00:24:50,080 --> 00:24:54,159
quality buddhist art collection
671
00:24:52,400 --> 00:24:56,159
and in this exhibition all the buddhist
672
00:24:54,159 --> 00:24:58,080
paintings were from the barrios
673
00:24:56,159 --> 00:25:03,039
exploration in dunhuang in
674
00:24:58,080 --> 00:25:03,039
central asia from 1906 to 1908.
675
00:25:03,360 --> 00:25:06,640
the modern art section showed over 200
676
00:25:05,760 --> 00:25:09,520
works
677
00:25:06,640 --> 00:25:10,559
from china and they were selected based
678
00:25:09,520 --> 00:25:13,200
on
679
00:25:10,559 --> 00:25:15,279
shibuya's agenda shibuya placed an
680
00:25:13,200 --> 00:25:17,679
announcement in a chinese newspaper
681
00:25:15,279 --> 00:25:18,640
to solicit paintings from this show for
682
00:25:17,679 --> 00:25:21,520
this show
683
00:25:18,640 --> 00:25:23,360
one of his criteria was that works must
684
00:25:21,520 --> 00:25:25,919
be purely chinese
685
00:25:23,360 --> 00:25:27,279
not showing any influence from europe or
686
00:25:25,919 --> 00:25:29,200
japan
687
00:25:27,279 --> 00:25:31,679
in fact she was very aware of the
688
00:25:29,200 --> 00:25:34,720
situation that many chinese artists had
689
00:25:31,679 --> 00:25:37,120
studied in japan from 1900 to 1930s
690
00:25:34,720 --> 00:25:38,400
not to mention that he himself had
691
00:25:37,120 --> 00:25:40,720
previously
692
00:25:38,400 --> 00:25:42,480
spent six months in japan and eight
693
00:25:40,720 --> 00:25:44,080
years in europe
694
00:25:42,480 --> 00:25:46,400
several artists included in this
695
00:25:44,080 --> 00:25:49,360
exhibition also received change abroad
696
00:25:46,400 --> 00:25:49,600
such as one action as you see here and
697
00:25:49,360 --> 00:25:52,080
um
698
00:25:49,600 --> 00:25:55,600
janna chin gao jinfu and being full menu
699
00:25:52,080 --> 00:25:57,440
study either in japan or europe
700
00:25:55,600 --> 00:25:59,200
in fact one of the organizing committee
701
00:25:57,440 --> 00:26:03,200
members chanshuram
702
00:25:59,200 --> 00:26:05,840
also studied in japan from 1908 to 1912.
703
00:26:03,200 --> 00:26:08,640
he admired and even copied japanese
704
00:26:05,840 --> 00:26:10,480
artists works as shown here
705
00:26:08,640 --> 00:26:13,440
but in order to stress that chinese art
706
00:26:10,480 --> 00:26:16,400
could modernize and regenerate itself
707
00:26:13,440 --> 00:26:17,760
from its condition independent of any
708
00:26:16,400 --> 00:26:20,480
foreign influence
709
00:26:17,760 --> 00:26:21,520
shibehong intentionally excluded all
710
00:26:20,480 --> 00:26:24,799
other media
711
00:26:21,520 --> 00:26:26,880
to focus on ink paintings in addition
712
00:26:24,799 --> 00:26:29,200
shibehong himself also took care
713
00:26:26,880 --> 00:26:31,120
not to disclose everyone's training
714
00:26:29,200 --> 00:26:33,679
outside of china
715
00:26:31,120 --> 00:26:35,120
for instance intro he introduced himself
716
00:26:33,679 --> 00:26:37,760
with the following sentence
717
00:26:35,120 --> 00:26:38,240
quote boeing khan show student of his
718
00:26:37,760 --> 00:26:40,720
father
719
00:26:38,240 --> 00:26:42,159
shida zhang and the famous intellectual
720
00:26:40,720 --> 00:26:44,720
congo way
721
00:26:42,159 --> 00:26:45,600
had his friend quite quickly former
722
00:26:44,720 --> 00:26:47,679
director
723
00:26:45,600 --> 00:26:48,720
of the national academy of fine arts in
724
00:26:47,679 --> 00:26:51,520
beijing
725
00:26:48,720 --> 00:26:52,240
professor of national central university
726
00:26:51,520 --> 00:26:55,440
in nanjing
727
00:26:52,240 --> 00:26:58,320
end quote this passage
728
00:26:55,440 --> 00:26:59,039
completely disregarded his education in
729
00:26:58,320 --> 00:27:00,400
730
00:26:59,039 --> 00:27:01,919
as you can see here this earlier
731
00:27:00,400 --> 00:27:02,559
painting was done by him during his
732
00:27:01,919 --> 00:27:04,720
study
733
00:27:02,559 --> 00:27:08,960
in paris and this painting was even
734
00:27:04,720 --> 00:27:08,960
shown at the french salon at the time
735
00:27:10,320 --> 00:27:13,600
the display of the painting was also
736
00:27:12,080 --> 00:27:15,679
well planned it
737
00:27:13,600 --> 00:27:16,720
deep already fed into the oriental
738
00:27:15,679 --> 00:27:18,720
fascination
739
00:27:16,720 --> 00:27:21,120
by highlighting the essentialism and
740
00:27:18,720 --> 00:27:22,960
otherness of chinese art
741
00:27:21,120 --> 00:27:24,960
this photo show here seems to suggest
742
00:27:22,960 --> 00:27:27,360
that the french curator was
743
00:27:24,960 --> 00:27:28,080
learning how to appreciate the unique
744
00:27:27,360 --> 00:27:30,559
format
745
00:27:28,080 --> 00:27:32,080
of chinese art but besides that this
746
00:27:30,559 --> 00:27:34,559
publicity photo
747
00:27:32,080 --> 00:27:35,600
also implies an informal diplomatic
748
00:27:34,559 --> 00:27:38,240
relationship
749
00:27:35,600 --> 00:27:39,600
between shibehong and desahua or between
750
00:27:38,240 --> 00:27:42,320
china and france
751
00:27:39,600 --> 00:27:45,760
so it subtly highlighted issues role in
752
00:27:42,320 --> 00:27:47,200
making this cultural type possible
753
00:27:45,760 --> 00:27:49,520
although all the works were in ink
754
00:27:47,200 --> 00:27:51,679
paintings she carefully chose works
755
00:27:49,520 --> 00:27:52,960
that demonstrated the versatile uses of
756
00:27:51,679 --> 00:27:54,960
ink and brush
757
00:27:52,960 --> 00:27:58,559
for instance you can see here in java in
758
00:27:54,960 --> 00:27:58,559
java chain's work the lotus
759
00:27:58,799 --> 00:28:03,760
jantar chain shows the expressiveness of
760
00:28:01,279 --> 00:28:04,799
impainting with a technique of splashed
761
00:28:03,760 --> 00:28:07,919
ink
762
00:28:04,799 --> 00:28:08,960
and then in another work by kochi form
763
00:28:07,919 --> 00:28:11,200
here in gouache
764
00:28:08,960 --> 00:28:13,039
was used to create the shapes and
765
00:28:11,200 --> 00:28:15,279
textures of the mountains
766
00:28:13,039 --> 00:28:16,080
which effectively evokes a poetic
767
00:28:15,279 --> 00:28:18,799
atmosphere
768
00:28:16,080 --> 00:28:21,039
of the painting this attached to choice
769
00:28:18,799 --> 00:28:22,880
was very much related to gaujin
770
00:28:21,039 --> 00:28:25,919
a culture from the early study in japan
771
00:28:22,880 --> 00:28:25,919
around 1907.
772
00:28:26,480 --> 00:28:30,000
shibuya in his work the horse reader
773
00:28:28,320 --> 00:28:32,559
jofongo used the brush
774
00:28:30,000 --> 00:28:33,679
to realistically delineate human and
775
00:28:32,559 --> 00:28:36,960
horse figures
776
00:28:33,679 --> 00:28:39,919
suggesting a deep knowledge of anatomy
777
00:28:36,960 --> 00:28:41,520
a result of his training in france and
778
00:28:39,919 --> 00:28:44,640
so through those kind of words
779
00:28:41,520 --> 00:28:47,120
she asserted a vitality and potential
780
00:28:44,640 --> 00:28:49,840
of ink painting from ancient to the
781
00:28:47,120 --> 00:28:51,919
modern periods
782
00:28:49,840 --> 00:28:52,960
however underneath the surface of the
783
00:28:51,919 --> 00:28:55,600
784
00:28:52,960 --> 00:28:57,440
the displayed objects revealed the
785
00:28:55,600 --> 00:29:00,399
social network and competition
786
00:28:57,440 --> 00:29:02,159
in the chinese art world at the time sri
787
00:29:00,399 --> 00:29:04,399
hong deo hai su and informant were
788
00:29:02,159 --> 00:29:07,279
regarded the most three important
789
00:29:04,399 --> 00:29:09,600
artists in china however shibehong new
790
00:29:07,279 --> 00:29:13,360
hai su had competitive relationship
791
00:29:09,600 --> 00:29:18,399
which also reflected in this exhibition
792
00:29:13,360 --> 00:29:21,360
shibehong chose only one word fangio
793
00:29:18,399 --> 00:29:22,159
in his chinese art exhibition in 1934
794
00:29:21,360 --> 00:29:25,440
berlin
795
00:29:22,159 --> 00:29:28,159
did not include any of shibuya's work
796
00:29:25,440 --> 00:29:31,200
likewise she only showed two works of
797
00:29:28,159 --> 00:29:34,480
dymphomia in this exhibition
798
00:29:31,200 --> 00:29:35,919
in contrast chibashi had 19 paintings
799
00:29:34,480 --> 00:29:37,840
shown at this exhibition
800
00:29:35,919 --> 00:29:39,440
because she was a good friend of shubei
801
00:29:37,840 --> 00:29:41,520
home so
802
00:29:39,440 --> 00:29:43,679
this overseas exhibition betrays the
803
00:29:41,520 --> 00:29:44,480
complicated social network in artistic
804
00:29:43,679 --> 00:29:47,440
competition
805
00:29:44,480 --> 00:29:48,799
within china the look of modern chinese
806
00:29:47,440 --> 00:29:51,760
painting very much depending
807
00:29:48,799 --> 00:29:53,600
on who was organizing the exhibition and
808
00:29:51,760 --> 00:29:57,919
who had close relationship
809
00:29:53,600 --> 00:29:57,919
with the curator and organizers
810
00:29:58,720 --> 00:30:02,559
the number of works in these two
811
00:30:00,240 --> 00:30:06,080
sections were out of proportion
812
00:30:02,559 --> 00:30:08,320
modern art section had 114
813
00:30:06,080 --> 00:30:10,880
paintings more than the ancient r
814
00:30:08,320 --> 00:30:13,279
section but the message was clear
815
00:30:10,880 --> 00:30:15,039
china was not a civilization that
816
00:30:13,279 --> 00:30:17,520
existed in the past
817
00:30:15,039 --> 00:30:19,200
instead it continued to develop and
818
00:30:17,520 --> 00:30:21,520
thrive
819
00:30:19,200 --> 00:30:23,840
superhum emphasized this point by using
820
00:30:21,520 --> 00:30:25,840
the word that contemporary and modern in
821
00:30:23,840 --> 00:30:28,399
the exhibition catalog
822
00:30:25,840 --> 00:30:29,440
adding a dimensional a temporal
823
00:30:28,399 --> 00:30:31,840
dimension
824
00:30:29,440 --> 00:30:33,200
into chinese art and rejecting the
825
00:30:31,840 --> 00:30:36,080
previous perception
826
00:30:33,200 --> 00:30:37,200
of chinese culture the implicit threat
827
00:30:36,080 --> 00:30:40,240
running through the whole
828
00:30:37,200 --> 00:30:41,600
exhibition was the idea of classism
829
00:30:40,240 --> 00:30:43,919
looking at the expression from the
830
00:30:41,600 --> 00:30:44,880
engine to modern art viewers will get an
831
00:30:43,919 --> 00:30:47,840
impression
832
00:30:44,880 --> 00:30:50,080
that modern art was that a continuation
833
00:30:47,840 --> 00:30:53,120
of the traditional art
834
00:30:50,080 --> 00:30:56,880
modernity according to this exhibition
835
00:30:53,120 --> 00:31:00,080
was an aspect of classical art meanwhile
836
00:30:56,880 --> 00:31:02,240
classical art was also very modern jin
837
00:31:00,080 --> 00:31:03,200
shibun wasn't the only artist in china
838
00:31:02,240 --> 00:31:05,760
at its high
839
00:31:03,200 --> 00:31:06,799
this kind of opinion actually other
840
00:31:05,760 --> 00:31:09,279
modernist
841
00:31:06,799 --> 00:31:10,480
also has similar opinions naming their
842
00:31:09,279 --> 00:31:14,399
modern art journal
843
00:31:10,480 --> 00:31:17,240
as apollo it suggests that
844
00:31:14,399 --> 00:31:19,039
many chinese artists believed in the
845
00:31:17,240 --> 00:31:22,880
inter-interdependent relationship
846
00:31:19,039 --> 00:31:22,880
between modernism and classism
847
00:31:23,440 --> 00:31:27,039
however the textual narrative of the
848
00:31:25,200 --> 00:31:30,080
exhibition presents
849
00:31:27,039 --> 00:31:31,200
another unexpected view of chinese art
850
00:31:30,080 --> 00:31:34,320
history
851
00:31:31,200 --> 00:31:36,559
it shows shibeh strong opinion that
852
00:31:34,320 --> 00:31:38,960
even contradicted the visual
853
00:31:36,559 --> 00:31:41,360
presentation of the exhibition
854
00:31:38,960 --> 00:31:44,399
the most obvious example was his
855
00:31:41,360 --> 00:31:45,840
attitude toward buddhism
856
00:31:44,399 --> 00:31:47,760
the exhibition showcased several
857
00:31:45,840 --> 00:31:48,640
buddhist paintings therefore
858
00:31:47,760 --> 00:31:50,559
acknowledging
859
00:31:48,640 --> 00:31:52,720
the importance of buddhism in chinese
860
00:31:50,559 --> 00:31:55,760
art however
861
00:31:52,720 --> 00:31:58,880
in shi's writing he condemned in
862
00:31:55,760 --> 00:32:01,120
the influence of buddhism in chinese art
863
00:31:58,880 --> 00:32:02,399
she wrote that buddhism did not inspire
864
00:32:01,120 --> 00:32:04,720
865
00:32:02,399 --> 00:32:06,000
to create grey works that loves of
866
00:32:04,720 --> 00:32:08,000
michelangelo
867
00:32:06,000 --> 00:32:09,039
and under the influence of buddhism and
868
00:32:08,000 --> 00:32:12,240
indian art
869
00:32:09,039 --> 00:32:14,960
chinese art became detached from reality
870
00:32:12,240 --> 00:32:15,840
and throughout his writing she used very
871
00:32:14,960 --> 00:32:18,480
strong words
872
00:32:15,840 --> 00:32:19,200
to condemn buddhism for instance he
873
00:32:18,480 --> 00:32:22,720
wrote that
874
00:32:19,200 --> 00:32:24,399
buddhism invaded china began beginning a
875
00:32:22,720 --> 00:32:26,240
period of decadence
876
00:32:24,399 --> 00:32:28,080
because the film of buddhist sculpture
877
00:32:26,240 --> 00:32:31,600
was reprehensible
878
00:32:28,080 --> 00:32:33,519
and its aesthetics harmful end quote
879
00:32:31,600 --> 00:32:35,279
she's antipathy toward buddhism in
880
00:32:33,519 --> 00:32:36,720
buddhist art might come from his
881
00:32:35,279 --> 00:32:39,320
perception of buddhism
882
00:32:36,720 --> 00:32:40,880
as a foreign religion and odds with
883
00:32:39,320 --> 00:32:43,039
confucianism
884
00:32:40,880 --> 00:32:46,720
however she's a hostile attitude toward
885
00:32:43,039 --> 00:32:48,559
buddhism was not shown at the exhibition
886
00:32:46,720 --> 00:32:49,840
while sribayon tried to create an image
887
00:32:48,559 --> 00:32:51,840
of pure china
888
00:32:49,840 --> 00:32:54,240
without any influence from foreign
889
00:32:51,840 --> 00:32:56,240
cultures his writing constantly talked
890
00:32:54,240 --> 00:32:59,279
about the cross-cultural interactions
891
00:32:56,240 --> 00:33:01,039
between china india japan and europe
892
00:32:59,279 --> 00:33:03,519
jibing argued that chinese are became
893
00:33:01,039 --> 00:33:03,840
the foundation of oriental antiquities
894
00:33:03,519 --> 00:33:07,200
895
00:33:03,840 --> 00:33:09,600
athletics in shibuya's opinion some
896
00:33:07,200 --> 00:33:12,080
dynasty artists had already achieved
897
00:33:09,600 --> 00:33:14,399
perfection and became the paradigm for
898
00:33:12,080 --> 00:33:16,080
later generations
899
00:33:14,399 --> 00:33:17,600
inheritance from this tradition
900
00:33:16,080 --> 00:33:20,240
architecture
901
00:33:17,600 --> 00:33:22,399
created grey paintings in china's work
902
00:33:20,240 --> 00:33:24,640
was emulated in japan
903
00:33:22,399 --> 00:33:26,320
influencing the development of japanese
904
00:33:24,640 --> 00:33:28,880
905
00:33:26,320 --> 00:33:30,320
but in fact he was an obscure figure in
906
00:33:28,880 --> 00:33:32,799
the history of
907
00:33:30,320 --> 00:33:33,440
um inhibitor chinese art leaving few
908
00:33:32,799 --> 00:33:36,320
traces
909
00:33:33,440 --> 00:33:37,519
in historical documents in spite of that
910
00:33:36,320 --> 00:33:40,559
in shibuya's opinions
911
00:33:37,519 --> 00:33:43,120
samhi was a very important figure for
912
00:33:40,559 --> 00:33:44,960
cultural transmission hoshiban did not
913
00:33:43,120 --> 00:33:48,240
mention in his writing was that
914
00:33:44,960 --> 00:33:50,720
after visiting japan in 1917
915
00:33:48,240 --> 00:33:51,360
he came to the conclusion that modern
916
00:33:50,720 --> 00:33:54,159
917
00:33:51,360 --> 00:33:55,200
artists had already surpassed chinese
918
00:33:54,159 --> 00:33:58,080
artist achievements
919
00:33:55,200 --> 00:33:58,080
in this genre
920
00:33:58,480 --> 00:34:02,960
and while introducing how chinese art
921
00:34:00,640 --> 00:34:03,919
developed over time shibehon often used
922
00:34:02,960 --> 00:34:06,240
the terms
923
00:34:03,919 --> 00:34:07,440
similar to those used to describe
924
00:34:06,240 --> 00:34:09,359
european art
925
00:34:07,440 --> 00:34:11,760
in this way who could show the affinity
926
00:34:09,359 --> 00:34:14,879
between chinese and european art
927
00:34:11,760 --> 00:34:17,280
for instance she implicitly compared
928
00:34:14,879 --> 00:34:18,000
classical chinese art with recall roman
929
00:34:17,280 --> 00:34:21,200
930
00:34:18,000 --> 00:34:22,560
and this is the quote from the first
931
00:34:21,200 --> 00:34:24,960
paragraph of his article
932
00:34:22,560 --> 00:34:26,000
and he wrote chinese quotes chinese
933
00:34:24,960 --> 00:34:29,119
antiquity
934
00:34:26,000 --> 00:34:30,399
reproduce nature with fidelity integrity
935
00:34:29,119 --> 00:34:33,040
with taste
936
00:34:30,399 --> 00:34:34,240
it is marked with a ceremonial character
937
00:34:33,040 --> 00:34:37,280
but decorative
938
00:34:34,240 --> 00:34:39,599
noble and graceful end quote
939
00:34:37,280 --> 00:34:40,960
and the terms that shivang used here
940
00:34:39,599 --> 00:34:45,280
like the taste
941
00:34:40,960 --> 00:34:47,599
noble and elegance reminding reminders
942
00:34:45,280 --> 00:34:49,839
those terms used by vincerement to
943
00:34:47,599 --> 00:34:52,159
describe greek art in his book
944
00:34:49,839 --> 00:34:54,079
thoughts on the imitation of greek works
945
00:34:52,159 --> 00:34:56,560
in painting sculpture
946
00:34:54,079 --> 00:34:58,160
which you might must have read must have
947
00:34:56,560 --> 00:35:01,599
read during his study at the echo de
948
00:34:58,160 --> 00:35:03,440
boza in the early 1920s
949
00:35:01,599 --> 00:35:05,359
nagoya should translate to the point and
950
00:35:03,440 --> 00:35:07,760
art is one-way's words as
951
00:35:05,359 --> 00:35:10,800
quote poetry resembles painting and
952
00:35:07,760 --> 00:35:12,960
painting resembles poetry in quotes
953
00:35:10,800 --> 00:35:14,480
she's translation evolves the famous
954
00:35:12,960 --> 00:35:20,079
quotes from horus
955
00:35:14,480 --> 00:35:20,079
treaties on poetics utah pictura voices
956
00:35:21,280 --> 00:35:26,800
um in horse treaties he tried to suggest
957
00:35:24,480 --> 00:35:29,119
a competition between two arts
958
00:35:26,800 --> 00:35:30,640
and a peridot between them in terms of
959
00:35:29,119 --> 00:35:33,119
their moral content
960
00:35:30,640 --> 00:35:34,320
instructional value and effective
961
00:35:33,119 --> 00:35:36,079
potential
962
00:35:34,320 --> 00:35:37,760
the original point by one way can be
963
00:35:36,079 --> 00:35:39,599
translated as quotes
964
00:35:37,760 --> 00:35:40,800
painting within poetry and pointing
965
00:35:39,599 --> 00:35:43,520
within painting
966
00:35:40,800 --> 00:35:44,400
would you emphasize how similar images
967
00:35:43,520 --> 00:35:47,520
could be evoked
968
00:35:44,400 --> 00:35:50,320
by both painting and poetry
969
00:35:47,520 --> 00:35:51,200
an idea slightly different in the
970
00:35:50,320 --> 00:35:54,640
concentration
971
00:35:51,200 --> 00:35:56,480
from the idea in horizon treaties
972
00:35:54,640 --> 00:35:57,760
and now another example is that our
973
00:35:56,480 --> 00:36:00,240
tripod
974
00:35:57,760 --> 00:36:01,280
tang dynasty art to renaissance art she
975
00:36:00,240 --> 00:36:04,480
argued that
976
00:36:01,280 --> 00:36:05,280
dynasty artists pursue humanism the love
977
00:36:04,480 --> 00:36:07,920
nature
978
00:36:05,280 --> 00:36:10,320
and dispersion of local cutters this
979
00:36:07,920 --> 00:36:13,680
example will demonstrate that
980
00:36:10,320 --> 00:36:15,599
she knew those turns um analogies in
981
00:36:13,680 --> 00:36:18,640
trying to connect chinese art with
982
00:36:15,599 --> 00:36:18,640
european audience
983
00:36:18,880 --> 00:36:22,800
in many of shivan's writings he talked
984
00:36:20,880 --> 00:36:23,760
about his mission of organizing this
985
00:36:22,800 --> 00:36:27,040
exhibition for
986
00:36:23,760 --> 00:36:27,599
china in spite of this nationalistic it
987
00:36:27,040 --> 00:36:29,760
sometimes
988
00:36:27,599 --> 00:36:31,839
looks like altruistic sentiments and
989
00:36:29,760 --> 00:36:34,800
motivations she expressed
990
00:36:31,839 --> 00:36:36,079
it is important to consider how shibehon
991
00:36:34,800 --> 00:36:38,240
positioned himself
992
00:36:36,079 --> 00:36:40,320
in the history of chinese art that he
993
00:36:38,240 --> 00:36:42,160
constructed in this exhibition
994
00:36:40,320 --> 00:36:43,520
now this attention examined his own
995
00:36:42,160 --> 00:36:46,720
painting at the exhibition
996
00:36:43,520 --> 00:36:49,280
the horse reader jofongo
997
00:36:46,720 --> 00:36:50,160
among other paintings that she showed at
998
00:36:49,280 --> 00:36:52,480
the exhibition
999
00:36:50,160 --> 00:36:53,599
the horse rider joefangal was the most
1000
00:36:52,480 --> 00:36:56,880
important work
1001
00:36:53,599 --> 00:36:58,640
for three reasons first this painting
1002
00:36:56,880 --> 00:37:01,280
was the largest figure painting
1003
00:36:58,640 --> 00:37:02,160
in the show occupying a prominent
1004
00:37:01,280 --> 00:37:03,920
position
1005
00:37:02,160 --> 00:37:06,480
so when viewers walk into exhibition
1006
00:37:03,920 --> 00:37:09,520
they will immediately notice this work
1007
00:37:06,480 --> 00:37:10,960
and second in a lot of news reports or
1008
00:37:09,520 --> 00:37:14,000
exhibition reviews
1009
00:37:10,960 --> 00:37:16,480
this painting was almost always included
1010
00:37:14,000 --> 00:37:18,400
making it almost become a synonymous
1011
00:37:16,480 --> 00:37:21,599
with the exhibition
1012
00:37:18,400 --> 00:37:22,079
and third description on the lower right
1013
00:37:21,599 --> 00:37:24,800
corner
1014
00:37:22,079 --> 00:37:26,800
states that it was the seventh time that
1015
00:37:24,800 --> 00:37:28,400
she become painted this week
1016
00:37:26,800 --> 00:37:31,280
this word must have carried certain
1017
00:37:28,400 --> 00:37:31,280
value for xu
1018
00:37:31,920 --> 00:37:35,359
this painting was based on a fable
1019
00:37:33,520 --> 00:37:38,240
mentioned in two ancient dos
1020
00:37:35,359 --> 00:37:38,240
texts did
1021
00:37:38,560 --> 00:37:43,040
this story came from the section of
1022
00:37:40,240 --> 00:37:45,040
responses of the way in finance
1023
00:37:43,040 --> 00:37:46,640
in this story the persian culture fungal
1024
00:37:45,040 --> 00:37:49,680
was famous for discerning
1025
00:37:46,640 --> 00:37:51,920
talented horses but for he was able to
1026
00:37:49,680 --> 00:37:54,079
see beyond their pregnancies
1027
00:37:51,920 --> 00:37:56,320
and make a sensible judgment and based
1028
00:37:54,079 --> 00:37:58,240
on the overall qualities
1029
00:37:56,320 --> 00:37:59,839
due to this special skill another
1030
00:37:58,240 --> 00:38:02,640
official called puala
1031
00:37:59,839 --> 00:38:05,440
recommended joffan gao to the emperor
1032
00:38:02,640 --> 00:38:08,640
who was looking for the best horse
1033
00:38:05,440 --> 00:38:09,440
and as expected joffan gao successfully
1034
00:38:08,640 --> 00:38:12,240
accomplished
1035
00:38:09,440 --> 00:38:13,760
this task and got the best horse for the
1036
00:38:12,240 --> 00:38:15,920
emperor
1037
00:38:13,760 --> 00:38:17,440
this story is a metaphor that contains
1038
00:38:15,920 --> 00:38:20,720
four possible meanings
1039
00:38:17,440 --> 00:38:23,119
it emphasizes the importance of judging
1040
00:38:20,720 --> 00:38:26,079
one's value beyond the appearance
1041
00:38:23,119 --> 00:38:28,800
the ability to discover a talent the
1042
00:38:26,079 --> 00:38:31,599
ability once you have to be discovered
1043
00:38:28,800 --> 00:38:32,160
the merit of a ruler has in order to
1044
00:38:31,599 --> 00:38:35,040
attract
1045
00:38:32,160 --> 00:38:35,920
talent toward for him and scholars have
1046
00:38:35,040 --> 00:38:38,160
suggested that
1047
00:38:35,920 --> 00:38:40,880
this painting can be interpreted to mean
1048
00:38:38,160 --> 00:38:43,680
all of these
1049
00:38:40,880 --> 00:38:44,320
from a political viewpoint this penny
1050
00:38:43,680 --> 00:38:46,320
urged
1051
00:38:44,320 --> 00:38:47,440
the chinese government to discover and
1052
00:38:46,320 --> 00:38:50,480
recruit the best
1053
00:38:47,440 --> 00:38:50,960
talents meanwhile it can also be argued
1054
00:38:50,480 --> 00:38:53,680
that
1055
00:38:50,960 --> 00:38:54,720
this pending actually implied criticism
1056
00:38:53,680 --> 00:38:57,440
at the nationalist
1057
00:38:54,720 --> 00:38:59,520
government in china at the time she
1058
00:38:57,440 --> 00:39:02,560
considered the government corrupted
1059
00:38:59,520 --> 00:39:03,839
incompetent so he created this work to
1060
00:39:02,560 --> 00:39:07,440
remind the government
1061
00:39:03,839 --> 00:39:10,000
the importance of being a wise moralist
1062
00:39:07,440 --> 00:39:11,359
from the viewpoint she is rebelling's
1063
00:39:10,000 --> 00:39:13,599
own personal career
1064
00:39:11,359 --> 00:39:15,920
spending can also be interpreted as
1065
00:39:13,599 --> 00:39:17,680
shibehong's aspiration to be the best
1066
00:39:15,920 --> 00:39:19,440
painter in china
1067
00:39:17,680 --> 00:39:21,200
and he sends a mission to discover
1068
00:39:19,440 --> 00:39:23,040
promising artists
1069
00:39:21,200 --> 00:39:25,520
because of all these and figures in
1070
00:39:23,040 --> 00:39:28,160
multiple directions and interpretations
1071
00:39:25,520 --> 00:39:30,640
this story became shibehong's favorite
1072
00:39:28,160 --> 00:39:33,920
subject
1073
00:39:30,640 --> 00:39:34,560
in this specific painting she wrote that
1074
00:39:33,920 --> 00:39:36,800
1075
00:39:34,560 --> 00:39:37,920
in the winter of the year same way i
1076
00:39:36,800 --> 00:39:41,119
painted this work
1077
00:39:37,920 --> 00:39:44,079
the seventh time it is for the memory of
1078
00:39:41,119 --> 00:39:44,800
mr diana who i cannot help but say
1079
00:39:44,079 --> 00:39:47,119
amnesty
1080
00:39:44,800 --> 00:39:49,200
shibehong who teaches at the national
1081
00:39:47,119 --> 00:39:49,680
central university and lives on dongfong
1082
00:39:49,200 --> 00:39:53,440
street
1083
00:39:49,680 --> 00:39:56,960
in quotes um here shibaho mentioned
1084
00:39:53,440 --> 00:39:56,960
the point near nanku
1085
00:40:00,880 --> 00:40:05,359
he was very grateful for their
1086
00:40:02,400 --> 00:40:07,119
friendship but he in his autobiography
1087
00:40:05,359 --> 00:40:10,480
he then mentioned more details about
1088
00:40:07,119 --> 00:40:13,200
their friendship and in the year of 1931
1089
00:40:10,480 --> 00:40:15,680
nahu passed away so she dedicated this
1090
00:40:13,200 --> 00:40:18,079
work to him
1091
00:40:15,680 --> 00:40:19,119
from this perspective um it seems to
1092
00:40:18,079 --> 00:40:22,319
suggest that
1093
00:40:19,119 --> 00:40:23,359
shibehong felt that his ability and also
1094
00:40:22,319 --> 00:40:26,079
ambition
1095
00:40:23,359 --> 00:40:28,640
to defend impact in a chinese our world
1096
00:40:26,079 --> 00:40:32,560
could only be understood by a few people
1097
00:40:28,640 --> 00:40:34,880
such as nyanku shi's intention to leave
1098
00:40:32,560 --> 00:40:36,800
his name in history is further enhanced
1099
00:40:34,880 --> 00:40:39,680
by another painting by his father
1100
00:40:36,800 --> 00:40:41,680
sridhara zhang in the exhibition
1101
00:40:39,680 --> 00:40:42,800
titled self-portraits my son this
1102
00:40:41,680 --> 00:40:45,119
painting depicts
1103
00:40:42,800 --> 00:40:46,319
the young shubert home sits by the desk
1104
00:40:45,119 --> 00:40:49,040
ready to read books
1105
00:40:46,319 --> 00:40:50,400
which will present presumably confucius
1106
00:40:49,040 --> 00:40:52,560
classics
1107
00:40:50,400 --> 00:40:54,880
his father holds her friend sitting
1108
00:40:52,560 --> 00:40:57,119
behind him and supervising him
1109
00:40:54,880 --> 00:40:58,960
this image emphasizes shibehon's
1110
00:40:57,119 --> 00:41:02,480
intellectual background
1111
00:40:58,960 --> 00:41:04,000
rather than simply being a craftsman
1112
00:41:02,480 --> 00:41:06,640
by including his father's work in the
1113
00:41:04,000 --> 00:41:07,760
exhibition shibehong constructed a
1114
00:41:06,640 --> 00:41:11,280
legitimate
1115
00:41:07,760 --> 00:41:13,760
and glorious family lineage in fact
1116
00:41:11,280 --> 00:41:15,520
his father was a local artist who
1117
00:41:13,760 --> 00:41:17,680
struggled to make a living
1118
00:41:15,520 --> 00:41:20,720
by creating commercial works and passed
1119
00:41:17,680 --> 00:41:22,800
away when shibek was 20 years old
1120
00:41:20,720 --> 00:41:24,400
reading shibeh's work the horse reader
1121
00:41:22,800 --> 00:41:25,359
jofongo and his father's painting
1122
00:41:24,400 --> 00:41:28,960
together
1123
00:41:25,359 --> 00:41:30,880
they constructed an aura around shu
1124
00:41:28,960 --> 00:41:33,280
he not only positioned himself within
1125
00:41:30,880 --> 00:41:36,000
the tradition of chinese art
1126
00:41:33,280 --> 00:41:38,480
but also established himself as a leader
1127
00:41:36,000 --> 00:41:41,440
in a modern chinese art world
1128
00:41:38,480 --> 00:41:42,240
in this way shibehong subtly inscribed
1129
00:41:41,440 --> 00:41:45,599
himself
1130
00:41:42,240 --> 00:41:48,079
into the history of chinese art
1131
00:41:45,599 --> 00:41:48,640
how are this exhibition received by
1132
00:41:48,079 --> 00:41:51,680
french
1133
00:41:48,640 --> 00:41:53,520
japanese and chinese viewers scholars
1134
00:41:51,680 --> 00:41:55,119
have seen this exhibition as a
1135
00:41:53,520 --> 00:41:57,680
successful cultural event
1136
00:41:55,119 --> 00:42:00,000
but argued that the responses were more
1137
00:41:57,680 --> 00:42:01,680
diverse than scholars had previously
1138
00:42:00,000 --> 00:42:03,680
assumed
1139
00:42:01,680 --> 00:42:05,119
most of the french media responses were
1140
00:42:03,680 --> 00:42:08,000
reported by xu
1141
00:42:05,119 --> 00:42:08,880
who unsurprisingly selected favorable
1142
00:42:08,000 --> 00:42:10,400
reviews
1143
00:42:08,880 --> 00:42:12,640
but there were also other negative
1144
00:42:10,400 --> 00:42:14,560
reviews that undermined the goal of the
1145
00:42:12,640 --> 00:42:16,640
1146
00:42:14,560 --> 00:42:18,160
in general french all critics and
1147
00:42:16,640 --> 00:42:20,000
viewers did intend to
1148
00:42:18,160 --> 00:42:22,400
view the exhibition in a more positive
1149
00:42:20,000 --> 00:42:25,359
way appreciating chinese art and
1150
00:42:22,400 --> 00:42:28,079
expressing confidence in its future
1151
00:42:25,359 --> 00:42:29,599
gaming mukelek wrote that um they are
1152
00:42:28,079 --> 00:42:30,319
shown in the exhibition were high
1153
00:42:29,599 --> 00:42:33,599
quality
1154
00:42:30,319 --> 00:42:35,920
profound and remarkable and the other
1155
00:42:33,599 --> 00:42:39,040
review at lavalon they described them as
1156
00:42:35,920 --> 00:42:42,319
quotes simple clear and logical
1157
00:42:39,040 --> 00:42:42,800
archaic yeah very modern and conclude
1158
00:42:42,319 --> 00:42:45,839
1159
00:42:42,800 --> 00:42:48,000
chinese art is always young the other
1160
00:42:45,839 --> 00:42:49,280
journal the buddhi bhagisian noticed
1161
00:42:48,000 --> 00:42:51,680
1162
00:42:49,280 --> 00:42:53,920
country chinese artists inherited the
1163
00:42:51,680 --> 00:42:57,040
merits of observing nature
1164
00:42:53,920 --> 00:42:59,280
and depicting it with aptitude
1165
00:42:57,040 --> 00:43:01,280
it was worthwhile pointed out that many
1166
00:42:59,280 --> 00:43:04,000
chinese and many french media
1167
00:43:01,280 --> 00:43:05,119
follow she's vocabulary in the article
1168
00:43:04,000 --> 00:43:06,880
speaking of
1169
00:43:05,119 --> 00:43:08,319
spirituality thoughts and
1170
00:43:06,880 --> 00:43:10,839
intellectualism
1171
00:43:08,319 --> 00:43:12,560
showing the success of she's rhetorical
1172
00:43:10,839 --> 00:43:15,119
strategies
1173
00:43:12,560 --> 00:43:16,000
many reviewers also associated this
1174
00:43:15,119 --> 00:43:18,079
1175
00:43:16,000 --> 00:43:19,119
with the current political situation in
1176
00:43:18,079 --> 00:43:21,839
1177
00:43:19,119 --> 00:43:23,599
and feels sympathetic toward china the
1178
00:43:21,839 --> 00:43:26,000
exhibition was opened soon after the
1179
00:43:23,599 --> 00:43:28,280
manchurian incident in 1931
1180
00:43:26,000 --> 00:43:29,680
and the establishment of manchester in
1181
00:43:28,280 --> 00:43:32,800
1932
1182
00:43:29,680 --> 00:43:34,640
therefore many french reviewers often
1183
00:43:32,800 --> 00:43:37,359
compared this exhibition
1184
00:43:34,640 --> 00:43:38,400
to military conflicts between china and
1185
00:43:37,359 --> 00:43:41,359
1186
00:43:38,400 --> 00:43:42,960
but if these two countries had extended
1187
00:43:41,359 --> 00:43:46,480
their battlegrounds
1188
00:43:42,960 --> 00:43:46,480
from asia to europe
1189
00:43:47,680 --> 00:43:52,079
the japanese are critic and reporter
1190
00:43:49,520 --> 00:43:54,640
based in paris matsulo kunio suke
1191
00:43:52,079 --> 00:43:55,520
also noticed this situation in this
1192
00:43:54,640 --> 00:43:58,319
report
1193
00:43:55,520 --> 00:44:00,880
muscle cautioned the japanese that china
1194
00:43:58,319 --> 00:44:03,119
was gaining popularity in europe
1195
00:44:00,880 --> 00:44:04,079
in contrast with a lukewarm reception
1196
00:44:03,119 --> 00:44:07,280
encountered
1197
00:44:04,079 --> 00:44:08,079
by japanese art possibly due to china's
1198
00:44:07,280 --> 00:44:11,440
strategy
1199
00:44:08,079 --> 00:44:13,599
of turning military defeat in asia into
1200
00:44:11,440 --> 00:44:15,359
the sympathetic public image of a
1201
00:44:13,599 --> 00:44:17,359
peace-loving people
1202
00:44:15,359 --> 00:44:18,720
therefore actually contrary to chinese
1203
00:44:17,359 --> 00:44:21,359
artists perception
1204
00:44:18,720 --> 00:44:23,359
the japanese felt quite worried that
1205
00:44:21,359 --> 00:44:26,960
china was dominating the
1206
00:44:23,359 --> 00:44:26,960
public opinion in france
1207
00:44:28,160 --> 00:44:33,200
other french reviewers also noticed that
1208
00:44:31,440 --> 00:44:36,000
the works of modern trends are quite
1209
00:44:33,200 --> 00:44:38,800
different from what they have expected
1210
00:44:36,000 --> 00:44:39,280
for instance gaston bulan um he wrote
1211
00:44:38,800 --> 00:44:43,200
1212
00:44:39,280 --> 00:44:45,599
um the quote the qualities are varied
1213
00:44:43,200 --> 00:44:47,280
after sentence style has achieved
1214
00:44:45,599 --> 00:44:49,839
chinese artists explored
1215
00:44:47,280 --> 00:44:52,000
a genre they raised disperses at
1216
00:44:49,839 --> 00:44:56,240
virtuosity without taste
1217
00:44:52,000 --> 00:44:58,400
so poor end quote um bullan's comment
1218
00:44:56,240 --> 00:45:00,400
was more extreme and even provocative
1219
00:44:58,400 --> 00:45:03,680
than most of the other reviewers
1220
00:45:00,400 --> 00:45:06,560
but it does suggest that to some french
1221
00:45:03,680 --> 00:45:07,520
viewers they were not convinced by
1222
00:45:06,560 --> 00:45:09,200
shibehong's
1223
00:45:07,520 --> 00:45:10,960
logic and considered chinese art
1224
00:45:09,200 --> 00:45:12,480
backward and not progress
1225
00:45:10,960 --> 00:45:15,119
because it's modern art doesn't seem
1226
00:45:12,480 --> 00:45:18,960
that much different from the ancient art
1227
00:45:15,119 --> 00:45:21,040
period of section
1228
00:45:18,960 --> 00:45:22,079
in contrast with with the more diverse
1229
00:45:21,040 --> 00:45:24,400
viewpoints
1230
00:45:22,079 --> 00:45:26,880
shown in the french media chinese media
1231
00:45:24,400 --> 00:45:27,920
constantly interpreted as a triumph over
1232
00:45:26,880 --> 00:45:30,079
1233
00:45:27,920 --> 00:45:32,000
with a narrative typically being that
1234
00:45:30,079 --> 00:45:35,599
although japan had defeated china
1235
00:45:32,000 --> 00:45:37,599
militarity china had grown culturally
1236
00:45:35,599 --> 00:45:39,280
she joined wrote in his article that he
1237
00:45:37,599 --> 00:45:41,280
appreciated shibong's effort and even
1238
00:45:39,280 --> 00:45:43,520
set up a gathering of trans art
1239
00:45:41,280 --> 00:45:44,319
at the jedi bomb and so he wrote it
1240
00:45:43,520 --> 00:45:47,760
1241
00:45:44,319 --> 00:45:50,960
finally the other country was no longer
1242
00:45:47,760 --> 00:45:52,960
exclusive end quote another journal
1243
00:45:50,960 --> 00:45:54,640
yang yo also reported that this
1244
00:45:52,960 --> 00:45:58,000
exhibition was a victory
1245
00:45:54,640 --> 00:46:01,040
of chinese art overseas however not
1246
00:45:58,000 --> 00:46:03,680
everyone was so optimistic
1247
00:46:01,040 --> 00:46:06,000
lucian had a more critical and sarcastic
1248
00:46:03,680 --> 00:46:10,079
view of the exhibitions
1249
00:46:06,000 --> 00:46:12,880
in his 1933 article he wrote their quote
1250
00:46:10,079 --> 00:46:14,480
china's policy has always been closing
1251
00:46:12,880 --> 00:46:16,240
it doesn't go out by itself
1252
00:46:14,480 --> 00:46:19,040
but it doesn't allow others to come in
1253
00:46:16,240 --> 00:46:21,920
either ever since it was forced
1254
00:46:19,040 --> 00:46:23,599
to open the door by guns and cannons it
1255
00:46:21,920 --> 00:46:26,400
has constantly encountered
1256
00:46:23,599 --> 00:46:28,319
setbacks now everything has become
1257
00:46:26,400 --> 00:46:30,640
sending autism
1258
00:46:28,319 --> 00:46:32,720
for instance recently we have seen a
1259
00:46:30,640 --> 00:46:35,200
batch of antiquities
1260
00:46:32,720 --> 00:46:38,240
sent out to exhibit in paris but we
1261
00:46:35,200 --> 00:46:40,560
don't know what happened afterwards
1262
00:46:38,240 --> 00:46:42,480
several great masters took some old and
1263
00:46:40,560 --> 00:46:45,599
new paintings overseas
1264
00:46:42,480 --> 00:46:48,560
hanging in european city after city
1265
00:46:45,599 --> 00:46:51,119
an act that it called glorifying the
1266
00:46:48,560 --> 00:46:53,040
nation end quote
1267
00:46:51,119 --> 00:46:54,880
um in luchin's opinion the most
1268
00:46:53,040 --> 00:46:57,680
important contribution of such
1269
00:46:54,880 --> 00:47:01,040
overseas exhibitions was to satisfy
1270
00:46:57,680 --> 00:47:01,040
chinese people's pride
1271
00:47:01,280 --> 00:47:05,200
the exhibition um is an epitome that
1272
00:47:03,839 --> 00:47:07,359
reflects the competition
1273
00:47:05,200 --> 00:47:08,960
and dollar between china and japan in
1274
00:47:07,359 --> 00:47:10,960
1920s and 30s
1275
00:47:08,960 --> 00:47:12,960
and this is a simple quality showing
1276
00:47:10,960 --> 00:47:13,520
that how intense the competition had
1277
00:47:12,960 --> 00:47:15,599
been
1278
00:47:13,520 --> 00:47:18,160
between china and japan so you can see
1279
00:47:15,599 --> 00:47:20,079
that soon after japan had one exhibition
1280
00:47:18,160 --> 00:47:21,599
chinese artists immediately organized
1281
00:47:20,079 --> 00:47:23,440
another one and then japan would
1282
00:47:21,599 --> 00:47:26,559
organize another one again
1283
00:47:23,440 --> 00:47:28,880
but besides seeing the ongoing um
1284
00:47:26,559 --> 00:47:30,880
you know exhibition between them as a is
1285
00:47:28,880 --> 00:47:32,319
that and also seeing this phenomena as a
1286
00:47:30,880 --> 00:47:34,960
1287
00:47:32,319 --> 00:47:36,640
i also want to point out that actually
1288
00:47:34,960 --> 00:47:39,760
we also see some
1289
00:47:36,640 --> 00:47:41,440
um some some pattern between them
1290
00:47:39,760 --> 00:47:43,280
and we can see that during this time
1291
00:47:41,440 --> 00:47:43,920
chinese and japanese are exhibition they
1292
00:47:43,280 --> 00:47:46,160
all
1293
00:47:43,920 --> 00:47:48,240
aim to introduce modern chinese and
1294
00:47:46,160 --> 00:47:50,319
japanese painting to europe
1295
00:47:48,240 --> 00:47:51,680
in order to show that east asian art did
1296
00:47:50,319 --> 00:47:54,960
not stop developing
1297
00:47:51,680 --> 00:47:59,200
after the 19th century on the contrary
1298
00:47:54,960 --> 00:48:01,040
they became more energetic and diverse
1299
00:47:59,200 --> 00:48:02,240
the dynamic interactions between our
1300
00:48:01,040 --> 00:48:04,800
worlds in china
1301
00:48:02,240 --> 00:48:05,680
japan and europe in a modern period
1302
00:48:04,800 --> 00:48:08,079
defied
1303
00:48:05,680 --> 00:48:08,960
and redefined chinese art constantly
1304
00:48:08,079 --> 00:48:11,359
therefore
1305
00:48:08,960 --> 00:48:12,319
the category of chinese painting was in
1306
00:48:11,359 --> 00:48:14,720
a flux
1307
00:48:12,319 --> 00:48:15,520
not determined by either chinese or
1308
00:48:14,720 --> 00:48:20,000
european
1309
00:48:15,520 --> 00:48:21,599
artists writers and curators
1310
00:48:20,000 --> 00:48:23,599
conclusion through the visual
1311
00:48:21,599 --> 00:48:25,599
presentation and textual narratives she
1312
00:48:23,599 --> 00:48:28,000
tried to work around the oriental
1313
00:48:25,599 --> 00:48:28,720
discourse selectively adapting some
1314
00:48:28,000 --> 00:48:31,040
elements
1315
00:48:28,720 --> 00:48:32,000
to attract french audience while at the
1316
00:48:31,040 --> 00:48:36,000
same time
1317
00:48:32,000 --> 00:48:37,839
he changed the assumption in orientalism
1318
00:48:36,000 --> 00:48:39,760
the visual narratives created through
1319
00:48:37,839 --> 00:48:43,599
the display of transplanting convey
1320
00:48:39,760 --> 00:48:46,000
five points first he aimed to emphasize
1321
00:48:43,599 --> 00:48:46,880
the achievements of pitori art
1322
00:48:46,000 --> 00:48:49,040
especially
1323
00:48:46,880 --> 00:48:50,960
in the achievement of landscape painting
1324
00:48:49,040 --> 00:48:54,319
bird and flower painting
1325
00:48:50,960 --> 00:48:55,920
and buddhist art and she
1326
00:48:54,319 --> 00:48:58,400
she also included his own work in order
1327
00:48:55,920 --> 00:48:59,839
to refute by the long assumption that
1328
00:48:58,400 --> 00:49:01,200
chinese artists couldn't do figure
1329
00:48:59,839 --> 00:49:03,760
drawing
1330
00:49:01,200 --> 00:49:05,760
and secondly this exhibition also
1331
00:49:03,760 --> 00:49:06,880
indicated that buddhist art play an
1332
00:49:05,760 --> 00:49:10,000
important role
1333
00:49:06,880 --> 00:49:10,880
in the development of chinese art and
1334
00:49:10,000 --> 00:49:12,800
third
1335
00:49:10,880 --> 00:49:14,640
the entire exhibition only focuses on
1336
00:49:12,800 --> 00:49:18,079
incarnating so it creates an
1337
00:49:14,640 --> 00:49:20,000
image of a pure china in this way
1338
00:49:18,079 --> 00:49:20,960
shibuyhun seemed to reduce chinese art
1339
00:49:20,000 --> 00:49:24,640
to be only inc
1340
00:49:20,960 --> 00:49:28,000
and painting ink and bars in contrast
1341
00:49:24,640 --> 00:49:30,160
with the oil and canvas in european art
1342
00:49:28,000 --> 00:49:33,760
and to highlight the essential reason
1343
00:49:30,160 --> 00:49:33,760
and otherness of chinese art
1344
00:49:34,000 --> 00:49:37,599
um and then the fourth point of this
1345
00:49:36,160 --> 00:49:39,040
visual implementation is that he
1346
00:49:37,599 --> 00:49:42,960
emphasized
1347
00:49:39,040 --> 00:49:45,680
the contemporaneity in chinese art
1348
00:49:42,960 --> 00:49:47,920
and these emphasis on contemporaneity
1349
00:49:45,680 --> 00:49:50,319
had important impercussion for future
1350
00:49:47,920 --> 00:49:51,920
collection and display of chinese art in
1351
00:49:50,319 --> 00:49:54,240
1352
00:49:51,920 --> 00:49:55,760
and finally shibehong also used this
1353
00:49:54,240 --> 00:49:58,800
exhibition as a way
1354
00:49:55,760 --> 00:49:59,680
for self-promotion creating an image of
1355
00:49:58,800 --> 00:50:01,599
a leader
1356
00:49:59,680 --> 00:50:04,480
in the modern japanese in the modern
1357
00:50:01,599 --> 00:50:04,480
chinese art world
1358
00:50:05,040 --> 00:50:08,079
she's own textual narratives however
1359
00:50:07,119 --> 00:50:10,960
1360
00:50:08,079 --> 00:50:12,559
convey another image of china his
1361
00:50:10,960 --> 00:50:13,520
writing used european authentic
1362
00:50:12,559 --> 00:50:15,599
vocabulary
1363
00:50:13,520 --> 00:50:16,880
to emphasize the intellectual and
1364
00:50:15,599 --> 00:50:19,920
athletic pursuits
1365
00:50:16,880 --> 00:50:21,520
between chinese and european artists in
1366
00:50:19,920 --> 00:50:23,920
addition
1367
00:50:21,520 --> 00:50:27,040
his writing disclosed strong personal
1368
00:50:23,920 --> 00:50:28,800
opposition to buddhism
1369
00:50:27,040 --> 00:50:30,480
furthermore his writing showed the
1370
00:50:28,800 --> 00:50:31,200
cross-cultural interactions between
1371
00:50:30,480 --> 00:50:33,839
1372
00:50:31,200 --> 00:50:36,319
and other countries like india japan in
1373
00:50:33,839 --> 00:50:36,319
1374
00:50:37,839 --> 00:50:41,359
so i was i'll suggest that the gap
1375
00:50:39,920 --> 00:50:42,960
between the visual and textual
1376
00:50:41,359 --> 00:50:44,400
narratives was a result due to
1377
00:50:42,960 --> 00:50:46,800
shibayan's compromise
1378
00:50:44,400 --> 00:50:48,880
between french audience interests and
1379
00:50:46,800 --> 00:50:51,599
his personal preferences
1380
00:50:48,880 --> 00:50:53,359
for instance french audience was very
1381
00:50:51,599 --> 00:50:55,040
interested in buddhist art
1382
00:50:53,359 --> 00:50:56,400
therefore although shibehong himself
1383
00:50:55,040 --> 00:50:59,280
denied buddhism
1384
00:50:56,400 --> 00:51:01,359
he still included buddhist art in the
1385
00:50:59,280 --> 00:51:05,599
indie exhibition in order to attract
1386
00:51:01,359 --> 00:51:08,720
french audience to see this exhibition
1387
00:51:05,599 --> 00:51:11,200
the 1933 exhibition can be read
1388
00:51:08,720 --> 00:51:14,079
as a three-dimensional projection of a
1389
00:51:11,200 --> 00:51:15,680
fictional narrative of chinese art
1390
00:51:14,079 --> 00:51:17,280
in the field modern chinese art many
1391
00:51:15,680 --> 00:51:18,160
scholars have done great jobs in
1392
00:51:17,280 --> 00:51:21,440
demonstrating
1393
00:51:18,160 --> 00:51:24,160
the significance of exhibition culture
1394
00:51:21,440 --> 00:51:25,520
including how it influences the citation
1395
00:51:24,160 --> 00:51:28,640
of artworks
1396
00:51:25,520 --> 00:51:30,880
serve the purposes of cultural promotion
1397
00:51:28,640 --> 00:51:31,760
acts as a performance of national
1398
00:51:30,880 --> 00:51:33,839
identity
1399
00:51:31,760 --> 00:51:36,559
and so on through a case study of the
1400
00:51:33,839 --> 00:51:39,760
1933 chinese art especially in paris
1401
00:51:36,559 --> 00:51:42,000
my talk strives to bring in more nuances
1402
00:51:39,760 --> 00:51:42,800
by considering international politics
1403
00:51:42,000 --> 00:51:45,680
between
1404
00:51:42,800 --> 00:51:47,680
europe japan and china and the intricate
1405
00:51:45,680 --> 00:51:50,240
1406
00:51:47,680 --> 00:51:51,040
among chinese artists and the personal
1407
00:51:50,240 --> 00:51:54,079
vision
1408
00:51:51,040 --> 00:51:55,200
and aspiration of the curator it was
1409
00:51:54,079 --> 00:51:58,240
through the interaction
1410
00:51:55,200 --> 00:52:01,520
and competition among all these agents
1411
00:51:58,240 --> 00:52:02,480
institutions that the category of modern
1412
00:52:01,520 --> 00:52:05,599
chinese painting
1413
00:52:02,480 --> 00:52:06,559
was created thank you for your listening
1414
00:52:05,599 --> 00:52:08,720
this is my email
1415
00:52:06,559 --> 00:52:09,760
if you have any question please feel
1416
00:52:08,720 --> 00:52:13,599
free to email me
1417
00:52:09,760 --> 00:52:17,040
anytime thank you thank you stephanie
1418
00:52:13,599 --> 00:52:20,079
this is weird so provoking
1419
00:52:17,040 --> 00:52:21,520
i have many so many questions because we
1420
00:52:20,079 --> 00:52:24,240
are uh
1421
00:52:21,520 --> 00:52:24,720
right now just working on that so i'm
1422
00:52:24,240 --> 00:52:26,800
gonna
1423
00:52:24,720 --> 00:52:27,920
you know i'll give opportunity to other
1424
00:52:26,800 --> 00:52:30,559
audience to
1425
00:52:27,920 --> 00:52:31,280
raise a question but can i ask the first
1426
00:52:30,559 --> 00:52:34,800
question
1427
00:52:31,280 --> 00:52:38,640
um i see a lot of competition in the
1428
00:52:34,800 --> 00:52:42,240
um um it's quite a complex person
1429
00:52:38,640 --> 00:52:43,200
the um the the main painting he
1430
00:52:42,240 --> 00:52:45,520
highlighted i mean
1431
00:52:43,200 --> 00:52:46,960
his own painting the largest one right
1432
00:52:45,520 --> 00:52:49,760
joe funko
1433
00:52:46,960 --> 00:52:51,280
the other than your reading i think the
1434
00:52:49,760 --> 00:52:53,359
second recognition
1435
00:52:51,280 --> 00:52:54,319
it replaced within the context of the
1436
00:52:53,359 --> 00:52:56,400
1437
00:52:54,319 --> 00:52:57,760
i mean what's he really intend to do i
1438
00:52:56,400 --> 00:53:00,960
mean is he you know
1439
00:52:57,760 --> 00:53:03,520
also intent to uh seeking the
1440
00:53:00,960 --> 00:53:04,240
recognition from the the french of the
1441
00:53:03,520 --> 00:53:08,000
1442
00:53:04,240 --> 00:53:11,200
audience and i i think that's um
1443
00:53:08,000 --> 00:53:14,559
um kind of um
1444
00:53:11,200 --> 00:53:16,160
should also look into and um
1445
00:53:14,559 --> 00:53:18,400
and also the painting is not all your
1446
00:53:16,160 --> 00:53:22,000
painting is in ink media
1447
00:53:18,400 --> 00:53:25,359
right so um both she and lean
1448
00:53:22,000 --> 00:53:28,480
you know eventually all kind of um
1449
00:53:25,359 --> 00:53:31,839
in terms of media really kind of um
1450
00:53:28,480 --> 00:53:35,119
synthesize or hybrid style you know
1451
00:53:31,839 --> 00:53:37,680
combine your training and back to china
1452
00:53:35,119 --> 00:53:38,240
so i wonder whether you can comment on
1453
00:53:37,680 --> 00:53:40,720
1454
00:53:38,240 --> 00:53:42,079
also you never mentioned in this
1455
00:53:40,720 --> 00:53:45,359
exhibition is it include
1456
00:53:42,079 --> 00:53:45,359
informants artwork
1457
00:53:48,000 --> 00:53:53,520
yes yeah yeah and what kind of work
1458
00:53:52,400 --> 00:53:56,960
being presented
1459
00:53:53,520 --> 00:54:00,240
because and also compared to this 1933
1460
00:53:56,960 --> 00:54:03,520
there were two previous one 1924
1461
00:54:00,240 --> 00:54:07,599
in uh strasbourg in uh
1462
00:54:03,520 --> 00:54:11,280
eastern province of france and also 1925
1463
00:54:07,599 --> 00:54:15,119
also in paris and these are organized
1464
00:54:11,280 --> 00:54:19,319
uh by linfonian and again his competitor
1465
00:54:15,119 --> 00:54:20,880
so i'm very curious and i know for sure
1466
00:54:19,319 --> 00:54:24,079
1924-25
1467
00:54:20,880 --> 00:54:27,839
uh the exhibition uh organized by
1468
00:54:24,079 --> 00:54:31,119
infomia was blessed by taiwan pay
1469
00:54:27,839 --> 00:54:34,079
one time he wrote previous and uh
1470
00:54:31,119 --> 00:54:34,800
also inclusive hong's artwork so these
1471
00:54:34,079 --> 00:54:38,079
are kind of
1472
00:54:34,800 --> 00:54:38,400
um competition so i i wonder you can you
1473
00:54:38,079 --> 00:54:41,440
1474
00:54:38,400 --> 00:54:44,880
kind of feeling a little bit address the
1475
00:54:41,440 --> 00:54:45,839
the two previous one and uh what's so
1476
00:54:44,880 --> 00:54:50,000
different from
1477
00:54:45,839 --> 00:54:52,079
uh um the 1933
1478
00:54:50,000 --> 00:54:54,799
uh thanks for um for your quick
1479
00:54:52,079 --> 00:54:57,680
questions um first about joefangal
1480
00:54:54,799 --> 00:54:59,680
um and um yes i agree with you i think
1481
00:54:57,680 --> 00:55:00,799
he also want to use this exhibition to
1482
00:54:59,680 --> 00:55:02,960
seek reconnection
1483
00:55:00,799 --> 00:55:03,839
from the french audience and artists at
1484
00:55:02,960 --> 00:55:06,079
its high
1485
00:55:03,839 --> 00:55:08,319
um i also think jafanka also represents
1486
00:55:06,079 --> 00:55:09,920
a very important artistic ambition of
1487
00:55:08,319 --> 00:55:13,119
shibehong himself
1488
00:55:09,920 --> 00:55:16,640
later on in shibang's writing in 1939
1489
00:55:13,119 --> 00:55:20,559
um he emphasized that giovan gao is
1490
00:55:16,640 --> 00:55:20,559
is a history painting so
1491
00:55:25,599 --> 00:55:29,440
history painting but to himself um you
1492
00:55:28,559 --> 00:55:31,040
know i think so
1493
00:55:29,440 --> 00:55:32,880
this in later interrupting eating
1494
00:55:31,040 --> 00:55:36,480
jofanga was the was the
1495
00:55:32,880 --> 00:55:39,680
best work of his own work of his own art
1496
00:55:36,480 --> 00:55:41,760
um so i think um he he do want to use
1497
00:55:39,680 --> 00:55:43,040
um this work jovanka as a way to
1498
00:55:41,760 --> 00:55:45,520
establish himself
1499
00:55:43,040 --> 00:55:48,240
seek recognition in a way um such a
1500
00:55:45,520 --> 00:55:50,480
fungal was a very important word for him
1501
00:55:48,240 --> 00:55:51,760
to think about you know history painting
1502
00:55:50,480 --> 00:55:54,079
but he never talked about
1503
00:55:51,760 --> 00:55:55,280
what his japanese for him um he just
1504
00:55:54,079 --> 00:55:59,839
mentioned
1505
00:55:55,280 --> 00:56:02,880
his bench so in my opinion um i think
1506
00:55:59,839 --> 00:56:05,760
uh jafang in a way
1507
00:56:02,880 --> 00:56:06,640
kind of for surveillance to change also
1508
00:56:05,760 --> 00:56:09,680
over define
1509
00:56:06,640 --> 00:56:11,520
what history painting means um in a way
1510
00:56:09,680 --> 00:56:14,880
and usually painting also think about it
1511
00:56:11,520 --> 00:56:16,880
as a way to conform to state ideology
1512
00:56:14,880 --> 00:56:19,200
and this is in the case of friends that
1513
00:56:16,880 --> 00:56:20,880
usually select the best history painting
1514
00:56:19,200 --> 00:56:22,640
in accordance with the contemporary
1515
00:56:20,880 --> 00:56:26,000
politics of the state
1516
00:56:22,640 --> 00:56:28,960
but in this but in his work jovanka here
1517
00:56:26,000 --> 00:56:31,440
actually she was inserting his criticism
1518
00:56:28,960 --> 00:56:33,839
at the national nationalist government
1519
00:56:31,440 --> 00:56:35,040
so in this way the message is the
1520
00:56:33,839 --> 00:56:36,720
political theology
1521
00:56:35,040 --> 00:56:39,359
quite different from what usually
1522
00:56:36,720 --> 00:56:40,559
assumed and secondly this word is really
1523
00:56:39,359 --> 00:56:43,440
large scale
1524
00:56:40,559 --> 00:56:44,880
and it shows his skill in painting
1525
00:56:43,440 --> 00:56:48,240
animals horses
1526
00:56:44,880 --> 00:56:51,440
um so to show demonstrate his skills
1527
00:56:48,240 --> 00:56:53,599
um now so he is a way that he want to
1528
00:56:51,440 --> 00:56:59,680
use this painting to demonstrate in
1529
00:56:53,599 --> 00:57:02,160
his he was worthwhile on the title
1530
00:56:59,680 --> 00:57:03,680
um a lot of consideration for him to
1531
00:57:02,160 --> 00:57:05,760
choose this work
1532
00:57:03,680 --> 00:57:07,119
and as far yeah sure the competition
1533
00:57:05,760 --> 00:57:09,440
between shibehong and
1534
00:57:07,119 --> 00:57:11,119
uh linfo yeah this yeah indeed that's a
1535
00:57:09,440 --> 00:57:12,319
good point um i didn't mention too much
1536
00:57:11,119 --> 00:57:15,520
yes indeed
1537
00:57:12,319 --> 00:57:18,079
um so in this exhibition um
1538
00:57:15,520 --> 00:57:18,799
he only i need to go i forgot um he only
1539
00:57:18,079 --> 00:57:21,599
included
1540
00:57:18,799 --> 00:57:22,000
like one or two paintings by lymphoma
1541
00:57:21,599 --> 00:57:24,720
also
1542
00:57:22,000 --> 00:57:25,680
so he again he uh intentionally to
1543
00:57:24,720 --> 00:57:29,040
undermine
1544
00:57:25,680 --> 00:57:31,920
his competitors in modern transplanting
1545
00:57:29,040 --> 00:57:33,599
um and at the end i did not really i did
1546
00:57:31,920 --> 00:57:34,559
not really know how shibang's work
1547
00:57:33,599 --> 00:57:36,960
looked like
1548
00:57:34,559 --> 00:57:39,520
um because he in his exhibition catalog
1549
00:57:36,960 --> 00:57:43,200
he only reproduced paintings by himself
1550
00:57:39,520 --> 00:57:45,280
and so ancient paintings um so i
1551
00:57:43,200 --> 00:57:47,280
yeah i did not really know and a lot of
1552
00:57:45,280 --> 00:57:47,920
media coverage also controlled by shiver
1553
00:57:47,280 --> 00:57:50,160
home
1554
00:57:47,920 --> 00:57:51,440
i'm so intentionally took care not to
1555
00:57:50,160 --> 00:57:54,000
show uh they only
1556
00:57:51,440 --> 00:57:54,799
promote himself so it's a it's hard to
1557
00:57:54,000 --> 00:57:56,960
know um
1558
00:57:54,799 --> 00:57:58,880
how they look like i can and also the
1559
00:57:56,960 --> 00:57:59,359
french title is slightly different from
1560
00:57:58,880 --> 00:58:01,599
1561
00:57:59,359 --> 00:58:03,280
original chinese titles i found a lot of
1562
00:58:01,599 --> 00:58:08,960
translations kind of hard
1563
00:58:03,280 --> 00:58:08,960
to use very general terms like landscape
1564
00:58:11,520 --> 00:58:18,160
okay well there's a two more question um
1565
00:58:14,799 --> 00:58:19,760
thank you uh stephanie um i believe that
1566
00:58:18,160 --> 00:58:22,079
we can continue to discuss
1567
00:58:19,760 --> 00:58:23,359
this there's so many you know issues
1568
00:58:22,079 --> 00:58:26,880
there's a um
1569
00:58:23,359 --> 00:58:28,240
two uh question came in now three uh one
1570
00:58:26,880 --> 00:58:30,079
is by elsa duvall
1571
00:58:28,240 --> 00:58:31,839
and it kind of related i would like to
1572
00:58:30,079 --> 00:58:33,920
hear more about how the exhibition
1573
00:58:31,839 --> 00:58:35,359
relate to the general interest of the
1574
00:58:33,920 --> 00:58:38,400
paris public
1575
00:58:35,359 --> 00:58:41,760
and amulet for chinese
1576
00:58:38,400 --> 00:58:43,760
art and history um for example
1577
00:58:41,760 --> 00:58:44,799
the gimei museum or previous chinese art
1578
00:58:43,760 --> 00:58:48,079
1579
00:58:44,799 --> 00:58:50,640
okay there's a one in um
1580
00:58:48,079 --> 00:58:52,559
uh oh and is there a particular
1581
00:58:50,640 --> 00:58:55,359
political statement made by those
1582
00:58:52,559 --> 00:58:56,160
choices and then uh the third question
1583
00:58:55,359 --> 00:58:59,599
is then what
1584
00:58:56,160 --> 00:59:00,160
in in what way an antibodies a statement
1585
00:58:59,599 --> 00:59:02,880
made
1586
00:59:00,160 --> 00:59:04,400
an insurance text or comment or
1587
00:59:02,880 --> 00:59:07,839
selection of works
1588
00:59:04,400 --> 00:59:09,680
okay okay yeah thanks um so how this
1589
00:59:07,839 --> 00:59:12,079
exhibition different from previous
1590
00:59:09,680 --> 00:59:15,119
1591
00:59:12,079 --> 00:59:15,440
that um it really shows a large section
1592
00:59:15,119 --> 00:59:19,359
1593
00:59:15,440 --> 00:59:21,280
modern chinese paintings previously
1594
00:59:19,359 --> 00:59:23,040
in the chinese art exhibitions in paris
1595
00:59:21,280 --> 00:59:26,160
especially they focused on the
1596
00:59:23,040 --> 00:59:28,240
um ancient paintings because they
1597
00:59:26,160 --> 00:59:31,680
believed that chinese painting was great
1598
00:59:28,240 --> 00:59:33,119
but only in the past
1599
00:59:31,680 --> 00:59:34,880
right now this is a very common
1600
00:59:33,119 --> 00:59:37,200
perception held by a lot of
1601
00:59:34,880 --> 00:59:38,319
european viewers also and also japanese
1602
00:59:37,200 --> 00:59:40,319
viewers as well
1603
00:59:38,319 --> 00:59:42,799
um japanese also thought that trends
1604
00:59:40,319 --> 00:59:45,119
were great but only in the past
1605
00:59:42,799 --> 00:59:47,040
um so in the 20s it was a really
1606
00:59:45,119 --> 00:59:48,319
important time they began to introduce
1607
00:59:47,040 --> 00:59:49,599
modern chinese art
1608
00:59:48,319 --> 00:59:51,839
so you can see that you should be on
1609
00:59:49,599 --> 00:59:55,359
this world intentionally showcase
1610
00:59:51,839 --> 00:59:58,480
200 chinese ink paintings um
1611
00:59:55,359 --> 00:59:59,599
in these exhibitions in the 2019 25
1612
00:59:58,480 --> 01:00:01,359
1613
00:59:59,599 --> 01:00:03,520
um the information shows on all your
1614
01:00:01,359 --> 01:00:05,760
paintings um
1615
01:00:03,520 --> 01:00:07,599
in 24 and 25 the difference is they show
1616
01:00:05,760 --> 01:00:08,720
some oil paintings done by chinese
1617
01:00:07,599 --> 01:00:12,240
artists studied in
1618
01:00:08,720 --> 01:00:13,760
paris but they in this painting they
1619
01:00:12,240 --> 01:00:15,520
intentionally show the content painting
1620
01:00:13,760 --> 01:00:18,079
but only in ink media
1621
01:00:15,520 --> 01:00:19,680
they schooling any entrance in order to
1622
01:00:18,079 --> 01:00:22,400
to i think to create the
1623
01:00:19,680 --> 01:00:24,240
essentialism of chinese art in a way
1624
01:00:22,400 --> 01:00:27,200
also to show continuation
1625
01:00:24,240 --> 01:00:27,920
of chinese paintings in this way okay
1626
01:00:27,200 --> 01:00:30,640
include the
1627
01:00:27,920 --> 01:00:31,040
um anti-bully statement made by shish
1628
01:00:30,640 --> 01:00:34,079
text
1629
01:00:31,040 --> 01:00:36,000
yeah so as the examples i showed earlier
1630
01:00:34,079 --> 01:00:38,880
she used really strong words in
1631
01:00:36,000 --> 01:00:41,839
describing why buddhism was so
1632
01:00:38,880 --> 01:00:42,400
harmful or chinese art and i think
1633
01:00:41,839 --> 01:00:45,359
hong's
1634
01:00:42,400 --> 01:00:47,440
attitude he was it was related to his
1635
01:00:45,359 --> 01:00:49,520
promotion of confucianism
1636
01:00:47,440 --> 01:00:50,960
um who she considers indigenous chinese
1637
01:00:49,520 --> 01:00:54,000
thoughts and philosophy
1638
01:00:50,960 --> 01:00:56,799
um so in this way he trying to undermine
1639
01:00:54,000 --> 01:00:58,720
the influence of buddhism
1640
01:00:56,799 --> 01:01:00,559
okay there are two questions the
1641
01:00:58,720 --> 01:01:02,640
political aspect you know is there a
1642
01:01:00,559 --> 01:01:03,040
particular political statement made by
1643
01:01:02,640 --> 01:01:06,079
those
1644
01:01:03,040 --> 01:01:06,559
two races and then more shall farm to
1645
01:01:06,079 --> 01:01:09,119
try and
1646
01:01:06,559 --> 01:01:10,000
imagine the political goal of these
1647
01:01:09,119 --> 01:01:12,640
exhibitions
1648
01:01:10,000 --> 01:01:13,760
was there any exact uh support from
1649
01:01:12,640 --> 01:01:16,240
chinese government
1650
01:01:13,760 --> 01:01:18,319
did they reach any essential political
1651
01:01:16,240 --> 01:01:20,079
goal
1652
01:01:18,319 --> 01:01:22,160
yeah okay so yeah yeah so for this
1653
01:01:20,079 --> 01:01:25,680
question um
1654
01:01:22,160 --> 01:01:26,400
okay so um in a way they the transgender
1655
01:01:25,680 --> 01:01:29,760
official
1656
01:01:26,400 --> 01:01:31,119
found this exhibition it was a choice
1657
01:01:29,760 --> 01:01:33,040
the foundation came from
1658
01:01:31,119 --> 01:01:34,240
the choice of individual donors as i
1659
01:01:33,040 --> 01:01:37,680
mentioned in a talk that
1660
01:01:34,240 --> 01:01:40,160
um and they personally
1661
01:01:37,680 --> 01:01:41,920
founded this exhibition so it was so um
1662
01:01:40,160 --> 01:01:42,559
the giant government did not openly
1663
01:01:41,920 --> 01:01:44,880
support
1664
01:01:42,559 --> 01:01:45,920
this exhibition for individuals they
1665
01:01:44,880 --> 01:01:49,040
gave away the money
1666
01:01:45,920 --> 01:01:51,119
for this exhibition and um
1667
01:01:49,040 --> 01:01:52,160
did it really achieve any substantial
1668
01:01:51,119 --> 01:01:55,039
critical goal
1669
01:01:52,160 --> 01:01:56,240
uh it depends on how you evaluate the
1670
01:01:55,039 --> 01:01:58,960
consequence
1671
01:01:56,240 --> 01:01:59,920
but in my opinion from the french
1672
01:01:58,960 --> 01:02:02,720
1673
01:01:59,920 --> 01:02:04,079
we see that actually shibehong strategy
1674
01:02:02,720 --> 01:02:07,359
worked quite well
1675
01:02:04,079 --> 01:02:10,880
a lot of reviews do consider
1676
01:02:07,359 --> 01:02:13,440
that um yeah china you know china um
1677
01:02:10,880 --> 01:02:14,400
yeah they feel they do feel sympathetic
1678
01:02:13,440 --> 01:02:16,799
with china
1679
01:02:14,400 --> 01:02:18,400
and think that chinese people and also
1680
01:02:16,799 --> 01:02:21,599
believe in china's future
1681
01:02:18,400 --> 01:02:24,400
so in a way i think it did create
1682
01:02:21,599 --> 01:02:25,280
um favorable international images for
1683
01:02:24,400 --> 01:02:28,319
china which
1684
01:02:25,280 --> 01:02:28,880
china really needed at a time facing the
1685
01:02:28,319 --> 01:02:34,480
debate
1686
01:02:28,880 --> 01:02:37,520
from japan all right
1687
01:02:34,480 --> 01:02:41,760
i thank you for the answer
1688
01:02:37,520 --> 01:02:44,880
i am still yeah compared to 1924
1689
01:02:41,760 --> 01:02:48,160
um the one thing for me exhibit
1690
01:02:44,880 --> 01:02:51,440
i my i just read it it show 43 paintings
1691
01:02:48,160 --> 01:02:52,480
28 um ink painting and 14 all your
1692
01:02:51,440 --> 01:02:56,160
1693
01:02:52,480 --> 01:02:59,039
so obviously shibe hong really um
1694
01:02:56,160 --> 01:03:00,880
i think he had a big pretty big agenda
1695
01:02:59,039 --> 01:03:01,440
and i kind of agree with the french
1696
01:03:00,880 --> 01:03:05,119
critic
1697
01:03:01,440 --> 01:03:08,799
you know it's a a bunch of uh something
1698
01:03:05,119 --> 01:03:09,920
um what we call virtuosity without taste
1699
01:03:08,799 --> 01:03:11,920
and so poor
1700
01:03:09,920 --> 01:03:12,960
the just a few examples you show you
1701
01:03:11,920 --> 01:03:15,200
know the chang
1702
01:03:12,960 --> 01:03:16,079
here and it was like the stage when he
1703
01:03:15,200 --> 01:03:19,200
was still
1704
01:03:16,079 --> 01:03:21,760
uh starting right and uh
1705
01:03:19,200 --> 01:03:22,400
is that uh shimon's a strategy i mean to
1706
01:03:21,760 --> 01:03:26,000
eliminate
1707
01:03:22,400 --> 01:03:29,200
a competition or you know i just
1708
01:03:26,000 --> 01:03:32,319
i it it it's intriguing
1709
01:03:29,200 --> 01:03:34,960
and uh i know the intention behind
1710
01:03:32,319 --> 01:03:35,440
and um yeah that's certainly yeah
1711
01:03:34,960 --> 01:03:39,680
certainly
1712
01:03:35,440 --> 01:03:42,960
yes um um so he has certainly has strong
1713
01:03:39,680 --> 01:03:45,680
um in quite strong uh strongly future
1714
01:03:42,960 --> 01:03:46,559
personal agenda so for instance in the
1715
01:03:45,680 --> 01:03:49,839
ancient r
1716
01:03:46,559 --> 01:03:51,280
section um all the artworks are from the
1717
01:03:49,839 --> 01:03:53,920
collection of french
1718
01:03:51,280 --> 01:03:56,319
museums because he believed that those
1719
01:03:53,920 --> 01:03:58,640
french collectors taste closer to his
1720
01:03:56,319 --> 01:04:00,559
that is the emphasis on naturalism so
1721
01:03:58,640 --> 01:04:02,240
all the ancient our apprentice
1722
01:04:00,559 --> 01:04:04,079
will emphasize the treatment in
1723
01:04:02,240 --> 01:04:04,480
landscape indian burning flowers um
1724
01:04:04,079 --> 01:04:06,720
which
1725
01:04:04,480 --> 01:04:07,680
you want to emphasize naturalism in
1726
01:04:06,720 --> 01:04:10,880
chinese
1727
01:04:07,680 --> 01:04:13,520
painting and also in modern art section
1728
01:04:10,880 --> 01:04:15,119
um yeah i'll agree with you um so for
1729
01:04:13,520 --> 01:04:17,839
all the images as selected
1730
01:04:15,119 --> 01:04:18,240
was from the french or collection um
1731
01:04:17,839 --> 01:04:19,599
because
1732
01:04:18,240 --> 01:04:21,359
again i'll try to search all the
1733
01:04:19,599 --> 01:04:22,319
paintings but it's hard to find which
1734
01:04:21,359 --> 01:04:25,359
ones which
1735
01:04:22,319 --> 01:04:27,680
so the the available data i could get
1736
01:04:25,359 --> 01:04:29,200
well those painting purchased by the
1737
01:04:27,680 --> 01:04:32,240
french government
1738
01:04:29,200 --> 01:04:35,359
um exhibition so these are the
1739
01:04:32,240 --> 01:04:38,160
the collection in france right now
1740
01:04:35,359 --> 01:04:38,799
and i think the the deal agreed between
1741
01:04:38,160 --> 01:04:41,039
chibehong
1742
01:04:38,799 --> 01:04:41,920
and the french government probably
1743
01:04:41,039 --> 01:04:45,119
involved some
1744
01:04:41,920 --> 01:04:49,119
political calculation of why this work
1745
01:04:45,119 --> 01:04:49,760
um right there put in this uh jofongo
1746
01:04:49,119 --> 01:04:52,880
1747
01:04:49,760 --> 01:04:53,280
it's not in the french collection now no
1748
01:04:52,880 --> 01:04:55,200
1749
01:04:53,280 --> 01:04:56,400
no it's a it's a very home memorial
1750
01:04:55,200 --> 01:04:58,559
museum um because
1751
01:04:56,400 --> 01:05:00,120
you can consider it's so important he
1752
01:04:58,559 --> 01:05:01,680
did not want to sell it to me
1753
01:05:00,120 --> 01:05:08,559
[Music]
1754
01:05:01,680 --> 01:05:11,039
okay that's very interesting yeah
1755
01:05:08,559 --> 01:05:12,079
right any further question i don't see
1756
01:05:11,039 --> 01:05:14,900
any
1757
01:05:12,079 --> 01:05:18,249
more questions at this point um
1758
01:05:14,900 --> 01:05:18,249
1759
01:05:19,440 --> 01:05:22,559
as i mentioned i i actually have a lot
1760
01:05:21,680 --> 01:05:26,240
of uh
1761
01:05:22,559 --> 01:05:29,839
questions but i think uh you know um
1762
01:05:26,240 --> 01:05:32,880
maybe i will um uh save it for
1763
01:05:29,839 --> 01:05:35,200
an other um opportunity to
1764
01:05:32,880 --> 01:05:36,319
you know discuss with you in in in
1765
01:05:35,200 --> 01:05:38,720
person
1766
01:05:36,319 --> 01:05:39,960
but i certainly think that the selection
1767
01:05:38,720 --> 01:05:43,839
and also
1768
01:05:39,960 --> 01:05:46,559
1933 he is uh um
1769
01:05:43,839 --> 01:05:47,440
very into kind of building up the fine
1770
01:05:46,559 --> 01:05:50,480
art department
1771
01:05:47,440 --> 01:05:52,720
in the central uh university right in
1772
01:05:50,480 --> 01:05:57,200
nanjing
1773
01:05:52,720 --> 01:05:59,839
so she seems always have a
1774
01:05:57,200 --> 01:06:00,480
very ambitious uh idealistic but
1775
01:05:59,839 --> 01:06:04,400
1776
01:06:00,480 --> 01:06:05,200
is pushing really hard you can personal
1777
01:06:04,400 --> 01:06:09,280
agenda
1778
01:06:05,200 --> 01:06:10,319
uh there um also patriotic but also all
1779
01:06:09,280 --> 01:06:14,000
these um
1780
01:06:10,319 --> 01:06:17,920
figure their relationship um
1781
01:06:14,000 --> 01:06:18,880
um this is from the starting from 27 to
1782
01:06:17,920 --> 01:06:22,000
29 a
1783
01:06:18,880 --> 01:06:25,440
debate between he and
1784
01:06:22,000 --> 01:06:28,319
lymphoma right so um in
1785
01:06:25,440 --> 01:06:28,640
china he tried so hard to promote this
1786
01:06:28,319 --> 01:06:31,680
uh
1787
01:06:28,640 --> 01:06:35,039
you know naturalism realistic know
1788
01:06:31,680 --> 01:06:38,960
um approach and the
1789
01:06:35,039 --> 01:06:41,280
uh and also uh was quite a public figure
1790
01:06:38,960 --> 01:06:42,720
you know kind of he's always very vocal
1791
01:06:41,280 --> 01:06:46,640
about um
1792
01:06:42,720 --> 01:06:49,200
kind of um advocating what he believes
1793
01:06:46,640 --> 01:06:49,760
and um but this is the real the first
1794
01:06:49,200 --> 01:06:54,400
time i
1795
01:06:49,760 --> 01:06:56,720
i i learned that you know this
1796
01:06:54,400 --> 01:06:58,799
is in a much bigger scale you know
1797
01:06:56,720 --> 01:07:01,599
reaching out
1798
01:06:58,799 --> 01:07:02,640
by organizing this exhibition yeah um
1799
01:07:01,599 --> 01:07:05,760
actually
1800
01:07:02,640 --> 01:07:07,839
home um he already thought he began this
1801
01:07:05,760 --> 01:07:08,960
this idea of organizing the chinese art
1802
01:07:07,839 --> 01:07:10,480
1803
01:07:08,960 --> 01:07:12,079
long time ago when he was studying in
1804
01:07:10,480 --> 01:07:13,599
paris so you always
1805
01:07:12,079 --> 01:07:15,839
always consider exhibition is a very
1806
01:07:13,599 --> 01:07:18,720
important way to
1807
01:07:15,839 --> 01:07:20,240
create the favorable cultural image for
1808
01:07:18,720 --> 01:07:22,720
1809
01:07:20,240 --> 01:07:23,440
so it began about the 20th but he
1810
01:07:22,720 --> 01:07:26,079
earnestly
1811
01:07:23,440 --> 01:07:28,640
began organizing this exhibition in 1930
1812
01:07:26,079 --> 01:07:30,880
so he spent three years organizing
1813
01:07:28,640 --> 01:07:32,079
especially um trying to facilitate a lot
1814
01:07:30,880 --> 01:07:34,400
of um
1815
01:07:32,079 --> 01:07:36,720
um create other connections talk to a
1816
01:07:34,400 --> 01:07:39,280
lot of these in paris and also
1817
01:07:36,720 --> 01:07:41,440
raising money in china and so when put
1818
01:07:39,280 --> 01:07:42,880
together in 1933 u.s yeah it was
1819
01:07:41,440 --> 01:07:47,359
actually a long-term
1820
01:07:42,880 --> 01:07:50,799
effort of sugar okay
1821
01:07:47,359 --> 01:07:53,440
all right so i you know um
1822
01:07:50,799 --> 01:07:53,920
don't want to take any more time of you
1823
01:07:53,440 --> 01:07:56,160
1824
01:07:53,920 --> 01:07:57,039
michael do you have any um are you
1825
01:07:56,160 --> 01:08:00,480
coming back
1826
01:07:57,039 --> 01:08:04,000
or should i oh
1827
01:08:00,480 --> 01:08:05,440
director i'll just thank stephanie again
1828
01:08:04,000 --> 01:08:07,280
and thank our audience for also for
1829
01:08:05,440 --> 01:08:09,280
bearing with us during the technical
1830
01:08:07,280 --> 01:08:11,920
difficulties as we all know the world of
1831
01:08:09,280 --> 01:08:13,599
zoom is fraught with uh challenges
1832
01:08:11,920 --> 01:08:15,680
so i appreciate appreciate everybody
1833
01:08:13,599 --> 01:08:17,199
staying online thanks so much to
1834
01:08:15,680 --> 01:08:18,400
stephanie for this wonderful
1835
01:08:17,199 --> 01:08:20,880
presentation
1836
01:08:18,400 --> 01:08:21,839
for moderating and we look forward to
1837
01:08:20,880 --> 01:08:23,679
seeing many of you
1838
01:08:21,839 --> 01:08:25,839
at our future events online thanks
1839
01:08:23,679 --> 01:08:25,839
everyone
