Modern Chinese Masters Reading Paintings and Writings on Beauty

Author: Wang Jiaju (Editor)
Publisher:
Publish Date: 2002-11-01
Features: In the three decades after the May Fourth Movement, China emerged a group of culturally erudite and well-grounded figures. Many of them were quite familiar with and had studied calligraphy, painting, music, and chess, and had shared their insights through vivid writings for public publication. Modern Masters of China on Painting: Essays and Sketches is a specialized collection that selects essays and sketches by modern Chinese cultural figures, expressing their appreciation for Chinese and foreign artworks. It includes works by Lu Xun, Zhou Zuoren, Liu Banruo, Ye Shengtao, Lin Yutang, Yu Dafu, Xu Zhimo, Zhu Guangqian, Zong Baihua, Feng Zikai, Mao Dun, Zhu Ziqing, Zheng Zhenduo, Ai Ying, Wang Tongzhao, Yu Pingbo, Cao Juren, Shen Congwen, Tai Jingnong, Ye Lingfeng, Fu Lei, Shi Zhicun, Li Jianwu, Xiao Qian, Ling Shuhua, Meiyang, Ke Ling, Fu Baoshi, Zheng Yimei, Tang Qiang, Huang Chang, and Huang Miaozi, among others, contributing over forty to fifty "essays on painting appreciation." The term "essays on painting appreciation" is used to distinguish itself from the so-called "art criticism" that is overly academic, dry, and obscure, making it "hard to read." The authors who patch together such "academic" art criticism often lack the necessary knowledge and aesthetic training for such research, at least in terms of insufficient knowledge and inadequate aesthetic training. Yet, they are bold enough to churn out lengthy arguments filled with vague and convoluted phrases that even they themselves cannot fully comprehend. This has tarnished the reputation of "art criticism," causing many readers to avoid such articles altogether. Modern Masters of China on Painting: Essays and Sketches was edited and published to restore the integrity of "art criticism." By carefully reviewing this collection, you will appreciate the "appreciation of painting" by a group of modern Chinese cultural masters beyond their primary fields of writing, translation, and teaching. For instance, Lu Xun's appreciation of woodcuts and Han stone reliefs, Zhou Zuoren's commentary on Japanese narrative paintings and ukiyo-e, Zheng Zhenduo's discussions on Ming and Qing woodcuts, Ai Ying's remarks on late Qing periodical illustrations and cartoons, and Fu Lei's introduction to Western art—all offer readers both aesthetic pleasure and intellectual enrichment. These cultural masters either wrote monographs, compiled art anthologies, documented artists and artworks, or conducted specialized research. For example, Shen Congwen's examination of the author of the Night Banquet of Han Xizai is not based on fence-sitting or ambiguous opinions. Moreover, their essays differ from those of general art historians, possessing a strong sense of era and thought, unique perspectives on appreciation and judgment, and engaging styles that captivate readers despite varying writing techniques. Thus, these essays are not only introductions, recommendations, descriptions, and studies of Chinese and foreign art but also reflections of their insights, personalities, tastes, and experiences, forming an integral part of their overall cultural contributions.
Literature, like poetry and prose, and art, like painting, may have different forms of expression, but their essence is interconnected. They often permeate, blend, influence each other, and pursue shared artistic ideals. As the saying goes, "Poetry is invisible painting, and painting is visible poetry." In Chinese history, many cultural figures were renowned painters as well as outstanding poets, such as Wang Wei, Su Shi, Zheng Banqiao, and Wu Changshuo. Even novelists like Cao Xueqin could paint. In modern times, with increasingly specialized social divisions and higher levels of professionalism, the gap between painters and writers has widened. However, the relationship between painting and literature remains unbroken even as the authors separate. Since the 20th century, many cultural figures have maintained a strong interest in painting and other art forms. For example, Lu Xun wrote extensively on woodcuts and Han stone reliefs, and Fu Lei on Western art. Their essays are imbued with a strong sense of era and thought, unique perspectives on appreciation and judgment, offering not only introductions, recommendations, descriptions, and explorations of Chinese and foreign art but also reflections of their insights, personalities, tastes, and experiences, forming an integral part of their cultural contributions.
In the three decades after the May Fourth Movement, China emerged a group of culturally erudite and well-grounded figures. Many of them were quite familiar with and had studied calligraphy, painting, music, and chess. For instance, Lu Xun on woodcuts and Han stone reliefs, Zhou Zuoren on Japanese narrative paintings and ukiyo-e, Zheng Zhenduo on Ming and Qing woodcuts, Ai Ying on late Qing periodical illustrations and cartoons, and Fu Lei on Western art. They either wrote monographs, compiled art anthologies, documented artists and artworks, or conducted specialized research, such as Shen Congwen's examination of the author of the Night Banquet of Han Xizai, which is not based on fence-sitting or ambiguous opinions. Moreover, their essays differ from those of general art historians, possessing a strong sense of era and thought, unique perspectives on appreciation and judgment, and engaging styles that captivate readers despite varying writing techniques. Thus, these essays are not only introductions, recommendations, descriptions, and studies of Chinese and foreign art but also reflections of their insights, personalities, tastes, and experiences, forming an integral part of their overall cultural contributions.
Modern Masters of China on Painting: Essays and Sketches is a specialized collection that selects essays and sketches by modern Chinese cultural figures, expressing their appreciation for Chinese and foreign artworks. The book is meticulously produced in a spacious large-format hardcover, printed on high-quality paper and bound with thread stitching, allowing readers to lay it flat on a table for careful perusal. The thick volume of over four hundred pages remains open without buckling. The renowned painter Ren Zhaoxiang designed the cover and title page, blending classical Chinese and modern Western aesthetics. Over four hundred relevant Chinese and Western masterpieces are carefully selected to complement the content. Shi Xiaoyan, a young and innovative designer, crafted a clean and elegant yet dynamically arranged interior layout, offering readers a delightful reading experience. Editor Wang Jiaju is a highly respected and well-regarded writer and editor. His edited, authored, and supervised books are cherished by book lovers, and Modern Masters of China on Painting: Essays and Sketches is no exception. This collection compiles essays and critiques on art by modern Chinese masters, providing readers with both literary enjoyment and artistic appreciation.