Sound health and development of a people and consolidated strength and wealth of a nation are both priorities of the public. Although health may not necessarily lead to total happiness and wealth may make other nations envious, honest people do not have to take these into account. On the contrary, if we have ourselves fallen into decline for one year, we will definitely suffer for the next ten years; if we let ourselves weaken for ten years, we will doubtlessly be involved in endless disasters. Until around 1800, China seemed to be crumbling. It was already in a desperate situation but still led a befuddled life, wallowing for another hundred years or more. During that period, there were wise sages who presented and expounded the truth by raising their arms and appealing loudly to the population. Yet, they did not realize that a disease had already attacked the vitals and a fire had already spread across the prairie. Although they might have the prescription to cure the dying and the opportunity to put down the flame, the medicine was not strong enough and chances are too rare. Up to this date, people have had to witness death and catastrophe. What a sorrow! What a sorrow! Even Heaven sent down its indignation by asking why it was so cruel. A humble man from the Taihu Lake, I am not gifted but have dipped into a few books and indulged in painting since a young age. I was fortunate to have the opportunity to roam the world and find out how immense it is. Looking back, I see the great achievements of our ancestors in exploring frontiers of territories, such as the carving of the Longmen Grottos, the continuation of the Great Wall, the teachings of Confucius at the Apricot Terrace, and the dialogues at the Jixia Academy. This splendid and brilliant civilization has independently existed in the East for five thousand years. While looking at the current reality in introspection, we cannot help but feel a sadness for the decline of the nation and weep tears for its peril. I will in earnest attempt to revive corrupted social norms with my brushes, and to change the views of outsiders through my art on paper. This is the wish and desire that have kept reappearing in my dreams for a long time! Evidently, one piece of log cannot prop up a declining building, nor can one lump of earth stop flooding water. It is but a means to let the world know that the vitals of our nation are still flowing and our campaigns are heating up. “Those who wait for calls by King Wen (the founder of the Zhou dynasty) before taking any actions are ordinary people. Those who possess extraordinary courage and ability will rise up even without King Wen,” Menzi said. Is there anyone who will roll up his sleeves and go forward? If they are in utter disbelief and resentment, the people will line up to fight. Probably the time has not come yet. It is fortunate that my fellow countrymen are aware of the plight.
During my recent trip to exhibit Chinese paintings, we hosted seven exhibitions in the world’s five most civilized countries – France, Belgium, German, Italy and Russia. We established four special collections of modern Chinese art at major museums and universities. Because of these exhibitions, Chinese culture received positive recognition from newspapers and magazines with a combined circulation of more than 200 millions. Even in the fascist Italy and communist Soviet Union, these paintings – sharp weapons with ideas and power but without battlefield smoke and noise - were taken in wholeheartedly. As you must be aware, the success results not from my personal efforts. Rather it certainly depends on the precious works of participating contemporary artists. In fact, people in the West have long been astonished by the anonymous Chinese artworks of previous generations. Displayed in the fine cabinets and shelves of museums in major European cities, such as Paris and London, and in those of premier collectors are pieces of bronze, jade, ceramics and embroidery from China. Striking and dazzling, these fine works have amazed numerous admirers. European connoisseurs have expressed equal appreciation and acclamation for these anonymous artists and for legendary figures such as Zhang Sengyou and Wu Daozi. As for the most renowned Chinese sages and philosophers such as Confucius, Laozi and Li Bai, almost every member of the European upper society (not necessarily the well-versed) knows them. Many have read and gained understanding of their books. To be overwhelmed by admiration or to dispute with the sages, Europeans have shown us a way quite different from what most typical self-claimed educated Chinese would take. Therefore, every accomplishment I have achieved abroad should be credited to our ancestors who created the civilization and glory, and to countless anonymous heroes who are great artists but were considered craftsmen in their day. Since our predecessors have planted seeds in the hearts of the Western people, we contemporary Chinese artists are merely collecting the fruits by presenting our works.
In 1930, Xie Shoukang visited Belgium as a diplomat. He brought my paintings to the capital of Belgium for exhibition. This was the first solo exhibition ever held by a Chinese painter outside China. The exhibition, attended by the Queen of Belgium, received positive reviews. Thereafter, Liu Dabei of the French-Chinese Institute of Lyon organized a joint exhibition, which surprised the French viewers, at the University of Lyon to showcase my works and those of other artists displayed at the World’s Fair that celebrated the 100th anniversary of Belgian independence. Excited and delighted, everyone was hoping to have a larger Chinese art exhibition held in Paris. This was the initial motive of organizing the Paris exhibition. Since two years ago, I have worked in preparation for the event, and suffered many setbacks during the process. The exhibition was finally ready as a result of my individual efforts and the help from a few friends. Incorporated into the exhibition were artists from different schools, with most works from principal artists of each school. In arranging the exhibition, I never used the name of the government, neither domestically nor internationally. Only academic organizations, such as the Central University, the French-Chinese Institute of Lyon, the Chinese Painting Society, the Suzhou Academy of Fine Arts and Xinhua Academy of Art, which offered us assistance, were recognized and listed. My thought was that all credit should go to the entire Chinese population, if the exhibition won honors. If it was maligned, I should take the responsibility all by myself without having our nation involved. The most difficult part then was funding. Although we had financial support from Mr. and Mrs. Gu Weijun and the French-Chinese Institute of Lyon, it was not sufficient after all. Not until three days after the Paris exhibition closed, did we receive a partial grant from the Chinese government. When I returned to China this year, very few friends lent a helping hand financially. None of those so-called institutions of cultural foundation, which squander a great amount of public funds each year, has ever offered a single penny. My fellow citizens, please take heed of this!
At three o’clock in the afternoon of May 10, 1933, the Chinese painting exhibition opened at the National Gallery of Foreign Art located at the Place de la Concorde in the center of Paris. On the opening day, among more than three thousand attendees were the French Education Minister De Monzie, the Chinese Minister and Mrs. Gu, the Foreign Minister Boncoror and other celebrities. Distinguished poet Valery wrote the preface to the exhibition catalog, in spite of his illness. Renowned artists such as Landowsky, Chabas, Dampt and Denis all showed their utmost support. Sold for ten francs (equivalent to two Chinese yuans), the catalogue was printed three times. I was only able to keep one copy for myself when it was out of print. The admission was five francs and free for Chinese students. In fact, all the Orientals were admitted without paying. As the exhibition closed on June 25, the total number of visitors exceeded 30,000 after it was extended for an additional 15 days.
As far as criticism is concerned, the most influential art critic Camille Mauclair wrote three times in Le Figaro and L'Ami du Peuple offering positive opinions about the Chinese fine arts. Praises based on plainly objective opinions could also be found in Le Temps by Raimnod Millet, in Intranriqent by Borrey, in L'hebdomadaire Artistique by De Vismes, and in L'hebdomadaire Arts et Littérature by French government art observer Jean Cassou. Favorable reviews flooded in, amounting to a total number of more than 300, with a combined circulation of approximately 80 millions. In addition, many newspapers in Belgium, Britain, Spain and even as far away as the United States published reviews on the exhibition, which apparently generated much attention in those civilized nations. The French government afterwards bought 12 exhibited pieces, including works by Qi Baishi, Gao Qifeng, Wang Yiting, Chen Shuren, Fang Yaoyu and Zhang Daqian. This was the very first time that paintings by modern Chinese artists were showcased in a specially designated area within a world-class museum. Countries such as Belgium, Italy, Spain and Germany, besides being generous in expressing their positive views about the exhibition, extended their invitation to us to conduct art shows in their countries. I consider Belgium an old friend of mine, as I was invited in June to have my second solo exhibition held in its capital city. The exhibition received excellent reviews from critics such as Van Zipe and Sander Pierron of the Royal Academy of Belgium, President Roussan, former President Richir and Professor Bortier of the Fine Art Institute. Invitations rushed in thereafter from Britain, Spain and Italy. Among them, people from Italy, Spain and Berlin expressed the most earnest desire. Italian Senator Bolletu was urged to invite the Chinese painting exhibition over after he saw for himself its grand success in Paris. Thus, an unprecedented art exhibition from China was held in the spectacular palace in Milan, Italy, the land where da Vinci created his Last Supper, the hometown of Giuseppe Castiglione, and the birthplace of Fascism. It was during last December, and the palace was too huge to be heated up. Our hands and feet were frozen to numbness while arranging the exhibition space. The exhibition committee, with the Italian prince as its honorary chair, included celebrities both inside and outside the government. The Italian media unanimously applauded the exhibition which was filmed as a documentary to be shown throughout Italy. Originating in the days of Marco Polo, the cultural relations between China and Italy finally resounded in an echo. The exhibition ran from December 19, 1933 through January 19, 1934. Among those who helped us make it a success were Italian professors Capitain and Morassi, Shen Yijia, as well as art collectors Zanon, Del Drago and Lu Qinzhai.
At the invitation of Verein Berliner Kunstler, I exhibited my works in its building last November. As Berlin press expressed their warm appreciation for the event, there were 50-60 newspapers and magazines that printed features or illustrated critics’ columns complimenting my works. Leaders of Berlin’s art community such as Professors Langhammer, Kampf, Dettmann, Pfannschmtt, and Schust-Verden, as well as noted Sinology scholar Professor Otto Frank all demonstrated their utmost regard. Over 30 renowned professors attended a banquet hosted in my honor by Verein Berliner Kunstler. I rarely had such a happy moment in my life to enjoy mutual respect in harmony. What I told the attendees of the banquet was that there were many master artists in China. Unfortunately they had little opportunity to present their works to European audiences.
A well-known German metropolis, Frankfurt, is where Richard Wilhelm, a famous Sinology scholar and key figure among European Sinologists, founded the Chinese Institute on the campus of Frankfurt University. Outside China, the Institute has been a place where the most serious academic work is conducted on China. Dr. Lu Yawen (the name is translated phonetically from Chinese – translator’s note) became the director of the Institute when Wilhelm passed away, with Dr. Ding Wenyuan from China as his deputy. The two gentlemen, serving as members of the Sino-German art exhibition committee, urged me in their letter to bring Chinese paintings from Rome, where I resided then, to Frankfurt for an exhibition. Compelled by their insistence, I traveled to German to organize the exhibition which was held at the National Art Gallery. On February 19, Prince Philip - governor of Hessen, Liu Zikai - the Chinese envoy, the mayor of Frankfurt and the University president were present at the exhibition opening. A 150-guest banquet was hosted the same day by the mayor at the Frankfurt City Hall (which has played a valuable role in German history as German emperors were elected in this very hall). Prior to the banquet, the mayor invited Envoy Liu, Dr. Ding and myself to sign in the city’s guestbook. We were driven, after the event, to the nearby Roman castle for a tour. The audience’s response was exceptionally enthusiastic, but the exhibition was scheduled for only two weeks which proved to be too short. Although the Germans requested an extension, I was unable to honor the request due to other exhibition commitments. I returned to Rome even before the closing.
When I was in Rome again, invitations poured in. Spanish organizer, Artiga, who could not actively make the Chinese art exhibition a reality during Spain’s political turmoil last year, renewed his invitation as his country’s political situation stabilizes this year. Rome’s exhibition was also finalized, with the Borghese Palace as its venue. Yet, in a most urgent manner, the Soviet Union pressed me for a decision by sending both letters and telegrams. It was necessary for them to hold the exhibition in May, the most beautiful month in Russia. Important figures across the nation would converge in Moscow after the May 1st parade. When the month passed, celebrities would leave the city, so would local artists and men of letters planning to work somewhere else. During my days in Europe, I had a hope that, in addition to promoting Chinese fine arts to audience overseas, I should bring back works of foreign artists to present to my fellow countrymen in China at the end of this trip. However, the European art community had shown little interest in exchanging works with us, as they were concerned about China’s unpeaceful situation and the uncharted relationship with them. My achievements up to that time were merely a few works offered as gifts out of personal friendship. I thought it might be easier to achieve my goal in the Soviet Union. As a result, I decided to skip Rome, a painful decision still troubling me. If we scheduled the Roman exhibition in April, it would be too late to have the next one in Moscow in May.
On my route to Russia, I enjoyed the most pleasant experience in my life – climbing the Parthenon atop the Acropolis in Athens while traveling through Greece. Since the independence and rebirth of Greece, this sacred place of world culture and fine arts has been carefully repaired. Its appearance remains as grand and magnificent as ever before. Roaming around the site and pondering on the past, I felt connected with Socrates, Plato, Aristotle, Phidias and Myron who lived some two thousand years ago. It was late spring when the wind blew gently and the sun shined warmly. Having spent the first half of my life dreaming about this land, I finally put my feet on its soil. What a wonderful experience! Also, I had the chance to visit Aya Sophia, one of the oldest and most splendid churches ever built in this world, in Turkey’s old capital Istanbul.
Before arriving in Russia, I had too many problems to deal with and too many difficulties to contend with. Once in Russia, however, everything was taken care of by the All-Union Society for Cultural Ties Abroad (VOKS), an important organization in charge of all international cultural relations in Russia, leaving me with nothing to worry about. As soon as my ship docked in Odessa, Professor Wolkowo, head of the local VOKS, and a representative from Moscow stepped aboard to welcome me. I was led to check in at Londonskaya Hotel where French Prime Minister Edouard Herriot was staying. After a hearty dinner, I was shown around local attractions and new constructions before traveling to Moscow. On May 7 at 4:00pm, the Chinese Painting Exhibition opened at the Museum of History on Red Square. In his opening remarks, Aroself, president of VOKS, stated that our two nations, Russia and China, had been good friends, particularly during Sun Yat-Sen's time. We were like a big family. The purpose of inviting me to hold an art exhibition was to better understand each other in culture and fortify the amicable friendship between our two great nations. In delivering the speech, his earnestness and sincerity moved everyone present.
Voltaire, representing the Moscow’s fine artists, presented a welcome address, followed by words from Wu Nanru, China’s charge d'affairs to the Soviet Union, who talked about the affection between our two nations. Finally, I made a speech to thank the host for their hospitality. Most of the invited guests were celebrities from the academic, literary and artistic arenas, in addition to the diplomatic corps. Decorated with fresh flowers, the venue was lit up with a glow of spirit. Once the exhibition was opened, the enthusiasm expressed by visitors was unparalleled as compared with that in other places. Some people came back five or six times. Another point worth noting was that, in other countries, most viewers tended to be well-educated. However, in the Soviet Union, besides the intellectuals and students, the exhibition was mostly visited by workers and farmers who stand still in front of a painting, gazing and exploring. When they bumped into me, they raised in-depth questions about each painting. Their interest in fine arts was so strong that not only we Chinese could not match them, but even the fashionable gentlemen in other nations should feel hard pressed to be on an equal footing with them. It has become their habit to appreciate fine arts, as, in their daily lives, they always enjoy recreation and entertainment in art galleries, concerts, theatres, painting exhibitions and museums. Over the few months’ stay in Moscow, I have been busy everyday, making speeches at the invitations of the Fine Artists Association, the Architecture Institute and the School of Engraving Arts, and mingling with Soviet artists and scholars, who believed the exhibition to be the largest and most interesting painting exhibit from another nation since the Soviet revolution.
Before the Moscow show ended, both the cities of Leningrad and Haerkof sent in their invitations. Concerned about my teaching responsibilities at the Central University, I hesitated for a long while before feeling compelled to accept their invitations. My only request was to exhibit in Leningrad first. With a population of over three millions, the city, one of the world’s greatest metropolises, appears equal to London or Paris in terms of importance. The Hermitage Museum was chosen to be the venue for the Chinese painting exhibition. Located within the city, the Hermitage is one of the top four museums in the world. It used to be the residence of the Russian tsars; now it includes the exceptionally luxurious Winter Palace, below which there is a square that can accommodate hundreds of thousands of people. The museum collects all varieties of Chinese ancient bronzes, ceramics, jades, ivories, porcelains, sculptures and lacquers and features them in more than 40 carefully laid-out glass showcases. It was truly the first time in Europe a large Chinese painting exhibition was held in such a marvelous venue and setting. The exhibition ran from June 19 to July 19, during which the Russian artistic community expressed their appreciation by inquiring if I could leave some of the exhibiting works in Russia. Their inquiry came as an opportunity to realize my original plan. I agreed that they could make selections from those paintings at my disposal. As a result, the Hermitage selected 12 paintings. In Moscow, the National Commissariat of Education decided in a meeting to present, as a gift, to China 13 masterpieces by well-known modern Russian artists since the 19th century. Based on a list selected by the contemporary Soviet painter and writer Grabar from the exhibiting works, I also donated 15 paintings of modern artists, such as Qi Baishi, Zhang Daqian, Chen Shuren and Wang Yiting, to the Moscow Fine Arts Gallery. Among the works offered by the Soviets are Repin's portrait of Tolstoy, and masterpieces of Surikov and Serov.
I recall one thing that stirred my emotion most. I was asked repeatedly by the Russians: “How many art museums are there in China? Your museum facilities ought to be better than our proletarian country, because your nation is an ancient civilization with such a long history.” Indeed, I suffered in pain and had to reply vaguely and equivocally. Grand in size and sophisticated in equipment, Russian museums are by no means inferior, and perhaps are superior, to their counterparts in such nations as Britain, France, Italy and Germany. Pathetically, however, the government in China has never taken steps to address the public need for art museums. They waste an immense amount of funds each year on so-called cultural programs. Yet no single art museum has been established; it is totally absurd. For a government overwhelmed by all kinds of responsibilities including a commitment to science promotion and national defense, it is quite natural that we do not expect less urgent matters to be prioritized over urgent ones. However, if it is called a national affair and the national capital of a great civilization as so claimed, what in essence is civilization? Absolutely ridiculous! No doubt those countries in Europe are real barbarian nations!
I also recall another interesting observation. Some Russian workers asked me why the socialism spirit was rarely found in the Chinese paintings, with the exception of my work Poetic life in Six Dynasties which, in their view, conformed most to socialism. In response, I said, “Fine arts should not be constrained, like Christian art, which confines itself to one single subject. Constant repetition in subject matter will eventually drive people away. The fine arts of modern Europe can certainly be considered the patrician’s fine arts, and Russia’s the proletarian’s. The Chinese fine arts can neither be classified as patrician nor proletarian. Rather, they can be fairly called the fine arts of hermits. In their own way, the Chinese painters interact with and imitate nature. When they encounter flowers and birds, they paint them; when they encounter mountains and waters, they paint them as well. They have no intention to oppress peasants, nor ambition to overthrow imperialists.” The Russians, however, always believed that my paintings depicting a donkey driver or an old maid were socialist paintings. This is truly an unexpected applause, and a surprising praise! Indeed, Chinese painters have paid little attention to the social reality around them, and none of them have had the ambition to reflect the life of ordinary people in their paintings. When they read about, in the exhibition catalog, the description of Chen Shuren and Jing Hengyi, both of whom have followed Sun Yat-Sen in the revolution, the Russians came to me, “Why we could not find anything revolutionary in their works?” In China, I explained, there were so-called literati paintings, and the works of Chen and Jing fell into that category. We did have socialist paintings, but most of them were oil paintings and not featured in the exhibition. Among the exhibited works, in fact, some artists had none of their paintings focusing on human figures. Their subjects offered nothing new but constant repetition of mountains, waters, pines, bamboos and plum blossoms in the style of four Wang’s (Wang Shimin, Wang Jian, Wang Hui and Wang Yuanqi). It was really amazing for them to stay in the old groove.
I have one more important statement to make. While in Russia, all fine artists have expressed their desire to be mutually supportive with their Chinese counterparts. I was invited to address the Moscow Fine Artists Association, whose president, a world renowned wood engraving artist, said the following words in his introduction: “The Chinese fine artists have shown us such wonderful works, giving us the ultimate pleasure. I wish you could convey the sincere appreciation of the Soviet artists to our fellow artists in China.”
I was also invited to speak at the Moscow School of Engraving Arts, drawing many notable artists to attend, such as Deineka and Kardovsky. All these world famous artists expressed their passionate empathy toward Chinese artists, and many of them asked me to pass on their feelings. I replied by saying, “Chinese artists are ready and willing to work with Soviet artists. We treasure these rare occasions when we can get together. Chinese people’s enthusiasm toward Russia is quite evident, as Russian literary works, for instance, are the most read publications in China.”
Additionally, I would like to make an announcement. Due to inconvenience in transportation, all the exhibited works have been shipped directly from Russia to Nanking (Nanjing), and will arrive around the eleventh of the month. Many journalistic pictures taken in different countries were all packed in the shipping cartons. Therefore, none of them can be inserted to enhance readers’ enjoyment. I apologize for this and will publish them in future issues.