Exhibition as an Art Historical Space

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Duration: 1:08:25

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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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and so please if you're not already a

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subscriber to

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our mailing list please subscribe

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you can also follow us on facebook and

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our youtube channel where we upload a

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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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painting

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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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sponsored this exhibition including the

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chinese ambassador to friends

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as you can see in the photo on the left

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and then the miss

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and the minister of education it's hard

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to jahua

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this situation made the organization

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more difficult

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but also gave you greater degree of

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freedom to structure the exhibition

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as he wished so to some degree it

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represented chinese government

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because you have high ranking officials

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they

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go ajin participated and helped

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organizing the show

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but at the same time it also strongly

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represented xi's own personal agenda

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she bailed on strategy to increase the

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importance of the event

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were to invite many political and

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cultural idiots in paris

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to participate for instance the famous

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finally the famous all right the famous

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writer paul bach for he

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wrote the previous for the exhibition

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catalogue

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and during the open reception many um

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politicians also culture these also also

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can

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they um like the minister of education

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here and other influential all critics

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such as

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gamiya mokle also wrote an exhibition

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review in the newspaper

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nafika home so the participation of

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those ed politicians

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intellectuals and why media coverage

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helped increase the french public

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interest

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in this show structurally the exhibition

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was composed of two parts

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the first part focused on ancient

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painting up to mean dynasty

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and the second part focus on modern art

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from the team to the contemporary period

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and all the ct6o paintings were borrowed

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from asian art collections

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such from the french army museum such as

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music

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may and mr duduf and the private

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collectors and dealers in paris

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and in terms of the modern art section

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all the 200 paintings were shipped from

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china

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an important feature of the ancient r

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section was the inclusion

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of buddhist painting by this time the

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french synologist

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pope belio had already returned from his

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adventure in central asia

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bringing with him many buddhist

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manuscripts

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and paintings and attracting french

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media's attention

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besides beirull other french collectors

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like his uni

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and amigurume to purchase buddhist

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sculptures and paintings in asia

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making paris an important city with high

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quality buddhist art collection

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and in this exhibition all the buddhist

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paintings were from the barrios

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exploration in dunhuang in

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central asia from 1906 to 1908.

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the modern art section showed over 200

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works

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from china and they were selected based

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shibuya's agenda shibuya placed an

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announcement in a chinese newspaper

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to solicit paintings from this show for

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this show

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one of his criteria was that works must

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be purely chinese

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not showing any influence from europe or

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japan

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in fact she was very aware of the

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situation that many chinese artists had

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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

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

paris

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

exhibition

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

chinese artists

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

and

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

art

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

japanese

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

art

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

quote

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

exhibition

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

that

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

that

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

exhibition

1175

00:43:16,000 --> 00:43:19,119

with the current political situation in

1176

00:43:18,079 --> 00:43:21,839

china

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

japan

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

that

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

japan

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

quote

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

competition

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

europe

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

sometimes

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

china

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

europe

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

social network and competition

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

exhibition

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

european

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

that

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

know

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

the

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

exhibition

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

chinese art exhibition in paris

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

exhibition

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

reviews

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

painting

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

painting

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

because

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

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