Chinese Gallery. Issue 1

Author: Jia Dejiang
Publisher:
Publish Date: 2005-01-01
Features: After a long drought, the country eagerly awaited a Western exhibition: the 19th-Century French Rural Landscape Painting Exhibition. It caused a sensation across the nation, with art workers from all provinces and cities, even the most remote, wanting to catch a glimpse. Some people, without enough money, even sold their pots and pans to travel to the capital. However, the exhibition was limited to 19th-century rural landscapes and mostly consisted of second- and third-rate works. The French themselves felt it did not represent their high level of art, so in the preface, they tactfully explained that the works were selected by the Chinese side. We were eager to learn about new technologies of the atomic age, yet the exhibition featured steam engines. The French likely felt deep regret about this, so they additionally displayed large photographs of Impressionist and other world-famous masterpieces not selected by the Chinese. Someone told the accompanying French that Chinese audiences would not accept these modern works. However, the expert art viewers were actually crowded around the large photographs, studying them. The French pointed to these enthusiastic audiences, saying they were more interested in these works than the official exhibition. Later, when the works of Raoul Dufy were exhibited in Beijing, the crowds were immense, with long lines for tickets, and the museum extended its hours, even working overtime. Even the blind came to visit, touching the masterpieces with their hands. Recently, the works of Henry Moore were exhibited. His abstract language was not well understood by the Chinese audience at first. The exhibition hall was initially deserted, but later it became crowded and popular. Even though many people did not fully understand it, they refused to let the great masters of modern sculpture pass them by.