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431 Pages·2015·22.82 MB·English
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Art’s Public Lives: Sculpture in China After 1949 by Vivian Y. Li A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History of Art) in the University of Michigan 2015 Doctoral Committee Associate Professor Joan Kee, Chair Professor Alexander D. Potts Professor Martin J. Powers Professor Wang Zheng To the artists and the lives their art affected ii Acknowledgements Joan Kee, my advisor and mentor. For her remarkable discernment, pragmatism, and precision, and for not letting me indulge in the impulse to explain away the strangeness of histories of art that do not fit, but to question why they do not fit. Alex Potts for his forthright curiosity and observations that are disarmingly keen and compelling. Marty Powers for his impeccable and critical knowledge of Chinese art and society. Zhang Wang for her practical insights on research and how to read history between the lines. Debbie Fitch and Jeannie Worrell for their wealth of departmental knowledge. The Fulbright Foundation, the Freer and Sackler Galleries of Art, the Getty Research Institute, and the Rackham Graduate School at the University of Michigan for their generous funding and support. Janet Upton and Nathan Keltner of the Fulbright China office in Beijing for creating a home base in China. Nancy Micklewright, Mike Richardson, Zeynep Simavi, Keith Wilson, and Shu Yue at the Freer and Sackler Galleries for their insights and camaraderie. Sarah Sherman for her professionalism and aid at the Getty Research Institute. Karen Chen and Lydia Ohl for their generosity of time and attention locating materials in the archives at the Cai Guo-Qiang Studio. Christof Buttner, Britta Erikson, Esther Schlicht, and Reiner Kallhardt, my predecessors in the study of Rent Collection Courtyard, for sharing their notes and research stories. Emmanuel Schwartz at the library of the École des Beaux Arts, Elisabeth Caillet of the Association des Amis du Musée Landowski, and independent scholar Meiyu Su in Paris, as well as the archives of the Atelier de Henri Bouchard in Roubaix for sharing their knowledge and materials on the th training of Chinese sculptors studying in France in the early 20 century. Jane Debevoise, Angela Falco, Lan Hui, and Zheng Shengtian for providing the crucial initial introductions in China. Freda Murck and Lara Kusnetzky for educating me on the significance of antique markets. iii Christine Ho, Swa Ngwane, Anne Rebull, Patrick Wilson, and Wu Xueshan for their curiosity and conversations that intellectually nourished me during my stay in Beijing and Sichuan. The Sichuan Provincial Archives, Shanghai Municipal Archives, and Guangzhou Provincial Archives for facilitating my study of their important collections. Liu Xiaofei, Wang Guanyi, Zhao Shutong, Bao Qian, Li Qisheng, Long Dehui, Long Taicheng, Ma Zhaolu, Ma Zhaoning, Tan Song, Ye Yushan, Zhang Fulun, and Zhang Xuli in Sichuan, Long Xuli in Beijing, and Li Lang in Hong Kong for their old world hospitality, patience, and generosity sharing their personal stories and views. Feng Bin, director of the Sichuan Fine Arts Institute’s Art Museum, for his strong support that made possible my research in Sichuan. Li Fang and Wang Wen, Feng Bin’s staff, for their quick and kind assistance. Cao Chunsheng and Yin Shuangxi at the Central Academy of Art for sharing their work and experiences. Long Xiang and Ye Yu in Hangzhou at the China Academy of Art for arming me with many books to read. Olga Panova for her invaluable language assistance with translating the Russian names from th Chinese. Kevin K.M. Lam for his guidance in locating materials on early 20 century urban planning in China. Antje Gamble, Nick Hartigan, Joseph Ho, Susan Hwang, Lehti Keelmann, Marissa Kucheck, Linda Liu, Ashley Miller, Kam Ng, Natsu Oyobe, Eduardo Pinto, Kristin Schroeder, Wendy Sepponen, Emily Talbot, and Anna Wieck for making Ann Arbor seem less small. Lu Li and Michelle Wang for making D.C. seem less big. Aida Wong for the words of advice and serendipitous Yun-fei Ji quote. Shih-shan Susan Huang for her constant support and encouragement from the very beginning and, with Linda Neagley, providing me with an intellectual home at the History of Art Department at Rice University. Mayra Ortiz for allowing me to stay at her home for spontaneous writing “residencies” in Austin. Christine Starkman for her unwavering confidence, perceptive conversations, and unstinting mentorship and friendship. My family, Robert Li, Lisa Xia, and Tony Li, for reminding me of the preciousness of life outside of academia and research. And finally and immeasurably Vivek Rajan, for the infinite love and support. Thank you. iv Table of Contents Dedication…………………………………………………………………………………………ii Acknowledgements………………………………………………………………………………iii List of Figures……………………………………………………………………………………vii Glossary of Names………..…………………………………………………………………….xvii Abstract………………………………………………………………………………………….xix Chapter 1: Introduction……………………………………………………………………………1 Chapter 2: Sculpture Reconsidered: Art, Life, and the Space In Between………………………..9 Measuring Up to the World: Sculpture in Modern Art Discourse……………………….13 Sculpture as an Art Practice in Republican China……………………………………….27 How to Sculpt for the People…………………………………………………………….38 Chapter 3: The View from Monument to the People’s Heroes………………………………….58 Development of Public Space in Early Modern China…………………………………..61 Public Space as the People’s Space……………………………………………………...75 Chapter 4: Sculpture and the Form of Experience……………………………………………...106 Artists on the Move……………………………………………………………………..109 Live Sketch and Its Discontents………………………………………………………...117 When Secondhand Experience Becomes Primary……………………………………...126 Global Racial Revenge and the Expanded Notion of “The People”……………………130 Chapter 5: Redefining Artistic Value: Rent Collection Courtyard……………………………..144 v Collective Work Revisited……………………………………………………………...148 The People As Judge……………………………………………………………………159 The People as Mass Audience………………………………………………………….167 Popularizing the Popular………………………………………………………………..175 Chapter 6: Conclusion..……...………………………………………………………………….193 Figures……………………………………………………………………………………..........205 Bibliography……………………………………………………………………………………397 vi List of Figures Figure 1. Zhao Zhiqian, Seated Buddha, 1862…………………………………………………205 Figure 2. Catalogue cover of Chinese Painting Exhibition, 1933-1934 and catalogue cover of Chinese Contemporary Painting, 1934…………………………………….....206 Figure 3. Parthenon, Athens, Greece, 432 BC………………………………………………….207 Figure 4. Exhibition of Contemporary Chinese Paintings (Exposition de Peintures Chinoises Contemporaines), Musée Cernuschi, Paris, 1946…...………………………208 Figure 5. Xu Beihong, sample sketches of plaster casts………………………………………..209 Figure 6. Group portrait of Li Jinfa, Lin Fengmian, and Lin Wenzheng, Berlin, 1922………..210 Figure 7. Wang Linyi with other students of Henri Bouchard, Paris, early 1930s……………..211 Figure 8. Henri Bouchard in his studio, early 1930s, Paris……………………………………212 Figure 9. Paul Landowski, The Phantoms, Oulchy-le-Château, 1935…………………………213 Figure 10. Hua Tianyou, Pondering (Chensi), 1943…………………………….……………..214 Figure 11. Hua Tianyou, Bombardment, Maternal Love, Chinese Boy, and installation view of Hua Tianyou’s solo exhibition in Beijing, 1948……………...………………..215 Figure 12. Exhibition layout, International Chinese Art Exhibition, 1935-1936…………..…..216 Figure 13. Examples of sculpture exhibits, Second National Art Exhibition, 1937……………217 Figure 14. Jiang Xiaojian, Chen Qimei, Shanghai, 1928……………………………………….218 Figure 15. Li Jinfa, Huang Shaoqiang, 1936…………………………………………………...219 Figure 16. Teng Baiye, Chiang Kai-shek, 1930s……………………………………………….220 Figure 17. Liu Kaiqu, Nameless Hero, 1943…………………………………………………...221 vii Figure 18. Liang Zhuting, Nameless Hero, 1934……………………………………………….222 Figure 19. Zhang Chongren, Chiang Kai-shek, 1946…………………………………………..223 Figure 20. Photo portrait of Liu Kaiqu, 1946…………………………………………………..224 Figure 21. Fu Tianchou, How to Make Sculpture, 1958………………………………………..225 Figure 22. The Great Function of Lenin’s Monument Propaganda Plan, 1952………………..226 Figure 23. Issues in Soviet Memorial Sculpture, 1954…………………………………………227 Figure 24. Nikolai Tomsky, Sergey Kirov Monument, 1937…………………………………...228 Figure 25. Sergey Kirov Monument from Issues in Soviet Memorial Sculpture………………….229 Figure 26. Vera Mukhina, Worker and Collective Farm Girl, 1937, from Issues in Soviet Memorial Sculpture…………………………………………………………….230 Figure 27. All-Union Agricultural Exhibition Hall, 1939, from The Great Function of Lenin’s Monument Propaganda Plan…...……………………….…………………..231 Figure 28. All-Union Agricultural Exhibition Hall, overview shot, 1939……………………...232 Figure 29. Yevgeny Vuchetich, Soviet War Memorial Treptower Park, Berlin, 1949, from The Great Function of Lenin’s Monument Propaganda Plan….…...……………233 Figure 30. Li Shouren, Little Painter, 1955…………………………………………………….234 Figure 31. Pan He, Hard Times, 1957………………………………………………………….235 Figure 32. Ma Gaihu, Old Sheep Herder, 1958………………………………………………...236 Figure 33. Selected Sculptures of Chongqing Workers, exhibition catalogue cover, 1978…….237 Figure 34. Selected Sculptures of Chongqing Workers, making and viewing sculpture……….238 Figure 35. Selected Sculptures of Chongqing Workers, viewing sculpture…………………….239 Figure 36. Monument to the People’s Heroes, front view from the north……………………...240 Figure 37a. Ceng Zhushao, “Opium War,” Monument to the People’s Heroes………………….241 Figure 37b. Wang Bingzhao, “Jintian Uprising”……………………………………………….241 viii Figure 37c. Fu Tianchou, “Wuchang Uprising”………………………………………………..242 Figure 37d. Hua Tianyou, “May Fourth Movement”…………………………………………..242 Figure 37e. Wang Linyi, “May Thirtieth Movement”………………………………………….243 Figure 37f. Xiao Chuanjiu, “Nanchang Uprising”……………………………………………...243 Figure 37g. Zhang Songhe, “Guerilla Warfare: War of Resistance Against Japan”…………...244 Figure 37h. Liu Kaiqu, “Support the Front Line, Welcome the People’s Liberation Army, Victoriously Cross the Yangtze River, Liberate the Nation”…………………………..245 Figure 38. Monument to the People’s Heroes foundation laying ceremony…………………...246 Figure 39. Aerial view of Xinjiekou Square, 1930s, Nanjing and plan for Shanghai administrative area according to Greater Shanghai Plan, 1929……..…………………247 Figure 40. Wang Tao, Jottings and Drawings from Carefree Travel, 1890……………………248 Figure 41. Lü Yanzhi, proposal, Sun Yat-sen Mausoleum, 1925………………………………249 Figure 42. Francis H. Kales, proposal, Sun Yat-sen Mausoleum, 1925………………………..250 Figure 43. Monument to the Martyrs in the Railway Protection Movement, 1913…………….251 Figure 44. “Scenes from Sichuan Province,” Young Companion, 1929………………………..252 Figure 45. Stele, Shanxi province, 520 CE……………………………………………………..253 Figure 46. Reading a Memorial Stele (Dubei tu), 14th-15th century, hanging scroll………….254 th Figure 47. Going out for a Hunt in the Mountains of Heaven, 17 century, handscroll……….255 Figure 48. Vera Mukhina, Worker and Collective Farm Girl (reproduction), 1937…………...256 Figure 49. Short proposal for Monument to the People’s Heroes……………………………...257 Figure 50. Palace pavilion with animal head spouts, Forbidden City, Beijing…………………258 Figure 51. Three gates proposal for Monument to the People’s Heroes……………………….259 Figure 52. Pavilion proposal for Monument to the People’s Heroes…………………………...260 Figure 53. Tapering building proposal for Monument to the People’s Heroes………………...261 ix Figure 54. Smokestack proposal for Monument to the People’s Heroes……………………….262 Figure 55. Cube proposal for Monument to the People’s Heroes……………………………....263 Figure 56. Mario Palanti, sample building plan, Rome, 1930s.………………………………...264 Figure 57. Monument to the People’s Heroes, 1952-1958……………………………………..265 Figure 58. Initial proposals for Monument to the People’s Heroes, 1950……………………...266 Figure 59. Paying respects to the People’s Heroes, 1962……………………………….……...267 Figure 60. Tiananmen Square, demonstrators for May Thirtieth Movement, 1925……………268 Figure 61. Former views of the Tiananmen Square…………………………………………….269 Figure 62. Liang Sicheng, sketch of Monument to the People’s Heroes, 1951………………...270 Figure 63. Liang Sicheng, sketch of Monument to the People’s Heroes, 1951………………...271 Figure 64. Liang Sicheng, comparison sketch of a stele and a monument, 1951………………272 Figure 65. National Day rally on tenth anniversary of the People’s Republic, 1959…………..273 Figure 66. Tiananmen Square, demonstrators for May Thirtieth Movement, 1925……………274 Figure 67. Leaders offering flowers at the Monument to the People’s Heroes, 2014 and Hua Tianyou sculpting the May 4th Movement relief, 1953………….………………..275 Figure 68. Marble relief of the Parthenon and Wang Bingzhao, “Jintian Uprising”…………...276 Figure 69. Offering Procession of the Empress as Donor with Her Court, 522 CE and Wang Linyi, “May Thirtieth Movement”.…………………………………….………..277 Figure 70. Fu Tianchou, “Wuchang Uprising” and Dong Xiwen’s sketch for “Wuchang Uprising”.……………………………………………………………………………….278 Figure 71. Wang Binzhao, “Jintian Uprising”……………………………………………….....279 Figure 72. Wang Linyi, “May Thirtieth Movement”…………………………………………...280 Figure 73. Liu Kaiqu, “Support the Front Line, Welcome the PLA”…………………………..281 Figure 74. Hu Yichuan, To the Front, 1932……………………………………………………282 x

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