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"Ink painting, Chinese 20th century."
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Transmedial landscapes and modern Chinese painting
Chinese ink painters of the Republican period (1911–1949) creatively engaged with a range of art forms in addition to ink, such as oil painting, drawing, photography, and woodblock prints. They transformed their medium of choice in innovative ways, reinterpreting both its history and its theoretical foundations. Juliane Noth offers a new understanding of these compelling experiments in Chinese painting by studying them as transmedial practice, at once shaped by and integral to the modern global art world.
Transmedial Landscapes and Modern Chinese Painting shines a spotlight on the mid-1930s, a period of intense productivity in which Chinese artists created an enormous number of artworks and theoretical texts. The book focuses on the works of three seminal artists, Huang Binhong, He Tianjian, and Yu Jianhua, facilitating fresh insights into this formative stage of their careers and into their collaborations in artworks and publications. In a nuanced reading of paintings, photographs, and literary and theoretical texts, Noth shows how artworks and discussions about the future of ink painting were intimately linked to the reshaping of the country through infrastructure development and tourism, thus leading to the creation of a uniquely modern Chinese landscape imagery.
eBook
Good Girls and the Good Earth: Shi Lu’s Peasant Women and Socialist Allegory in the Early PRC
During the most robust years of his career, 1949 to 1964, the artist Shi Lu 石魯 (1919-1982) frequently painted young rural women. The appearance of peasant women in the art of the early Maoist period ostensibly demonstrates the suitability of the subject for visualising state policies that promoted social transformation and women’s liberation. While participating in these nation-building efforts, Shi Lu’s images of peasant women were also a product of global art historical influences, namely allegorical depictions, that manifested subtle influence on the development of twentieth-century Chinese art. The identity of the artist, a Yan’an cadre who provided creative and administrative support to the official art system, reveals how artists navigated political expectations as state functionaries while simultaneously defining them through artistic exploration. Through the case study of Shi Lu and the hybridised global artistic traditions that gave rise to the subject of young peasant women in Maoist China, this article reveals the porousness of an era that has been considered isolated from global currents outside of the Soviet sphere.
Journal Article
REPRODUCING CHINESE PAINTING: Revised Histories, Illustration Strategies, and the Self-Positioning of Guohua Painters in the 1930s
Many Chinese painters working in the medium of ink painting, or guohua, in the 1930s saw their medium at a historical turning point They perceived a necessity to strengthen ink painting conceptually and formally in order for it to persist in a globalizing modern world. This essay studies how modern ink painters positioned their works through both an analysis of their texts and a study of reproductions in publications related to the Chinese Painting Association (Zhongguo Huahui). Many painters worked as editors for book companies, journals, or pictorials, and they were highly conscious of the possibilities and limitations of particular reproduction techniques. An analysis of the editorial arrangements, choices of printing techniques, and textual framings of the reproduced works sheds light on the social structures of the Chinese art world of the 1920s and 30s, and on the role that the editors envisioned for themselves, their associations, and modern ink painting in general.
Journal Article
Classical Chinese painting
From the Ming dynasty to the modern era, works in the classical tradition are highly prized by connoisseurs, writes Emma Crichton-Miller Wang. Today, although the highest prices for traditional brush-and-ink work are paid for paintings from the modern era, the pieces that are most prized explicitly invoke the classical tradition. It is indicative of the deep commitment of Chinese collectors to traditional imagery and techniques that the record for a Chinese traditional painting is the HK$370m paid in April 2022 for Landscape after WangXimeng (Fig. 1), an ink and colour on silk hanging scroll by Zhang Daqian (1899-1983). Wang Ximeng (1096-III9) was a prodigy of the Northern Song period whose only surviving work, the long blue-and-green masterpiece A Thousand Li of Rivers and Mountains, now in the Palace Museum in Beijing, itself drew on a long tradition of azurite and malachite painting reaching back to the Sul dynasty (581-618).
Magazine Article
LINE OF BEAUTY
Curator Fan Jeremy Zhang explains how, in the 20th century, the artist Qi Baishi revitalised Chinese ink painting for a global audience. Qi Baishi (1864-1957) had an extraordinary life; most people would never have thought based on his humble origins and his late training that he would become a renowned artist. Qi Baishi was an accurate observer of nature; he was from the countryside and knew the rustic life. His work can be very plain and simple, but this meant that patrons and art collectors could easily recognise this quality of naturalness in his paintings, and its to this that many scholars attribute his success. In his depictions of nature, he always discovers something interesting - the joy of everyday life, the pleasure of mundane objects. From his perspective, in his observation, something that may not look so interesting to others always has unique, interesting aspects to convey.
Magazine Article