Wen / Zhang Xiaojun, Tan Bangyan
Abstract: In 1933, the monthly magazine "Yifeng" founded and edited by the Yifeng Society and issued by the Yifeng Bookstore was born, and from 1933 to 1937, it became an important publication in the literary and art circles during the Republic of China period. Due to the experience of the editor-in-chief Sun Fuxi (1898-1962), the magazine interacted frequently with the China Society for the Study of Art in France, and in 1934 it jointly issued the "Art Style • China Art Study in France Art Society" and in 1936 the "Art Style • Modern Art Special Number" jointly edited by the China Study in France Art Society, which built an international platform for art exchange. This article attempts to clarify the cooperation between Art Style and the China Society for the Study of Arts in France, and examines the contributions made by the two in the process of Chinese art modernization.
Keywords: "Art Style" Monthly China Study in France Art Society Sun Fuxi Art Modernization
The monthly magazine "Art Style" and the China Art Society studying in France are the key components of the history of modern Chinese art, and the two were active in China and Europe in the 1930s respectively, interacting with the articles written by members of the China Art Society studying in France, art works, overseas art theories and translations of artist biographies in the month of "Art Style", introducing Chinese and Western art ideas to the people. However, because "Art Style" and the China Society for the Study of French Art belong to the two categories of periodicals and societies respectively, coupled with the fact that they are far away from each other, scholars at home and abroad often discuss the two separately, obscuring their connection with each other and also covering up their efforts and significance in jointly promoting the modernization process of Chinese art. This article explores the partnership between the two and restores their roles in the modernization of Chinese art.
I. Source Flow Examination: "Art Style" and the beginning of cooperation with the Society
In 1933, the monthly magazine "Art Style" was born in Hangzhou and Shanghai, where modern art education and publishing were prevalent, and was published by The Hehe Bookstore. Founded in 1927 by Sun Fuyuan (1894-1966) and sun Fuxi brothers,[1] The Book House is located at No. 3 Garden Villa, Huanlong Road, Shanghai. [2] The Shanghai area is the birthplace of modern Chinese literary publishing, which provided an opportunity for the Sun brothers to establish a book house. [3] There were five types of literary and art periodicals published before and after the Choo Shu Shu [4] Contribution was the earliest publication published by the House, focusing on providing information on art and design,[5] Apollo was the journal of the National Academy of Arts (now the China Academy of Art) and the longest-running journal of the press,[6] and Yifeng was the last magazine in the history of the house until it ceased publication on the eve of the outbreak of the War of Resistance Against Japanese Aggression in 1937. 〔7〕
In 1919, Sun Fuxi went to Beijing and met Lu Xun (1881-1936) under the introduction of Sun Fuyuan, who recommended Lu Xun to serve as the librarian of Peking University and audited elective courses in various departments of literature, history and philosophy. [8] In the following year, Sun Fuxi was recommended by President Cai Yuanpei (1868-1940) to enter the Sino-French University of Lyon in France, becoming the first student of the university to specialize in art history. [9] During this period, Sun Fuxi became friends with the founders of the Hops Society, Lin Fengmian (1900-1991), Liu Jiebu (1901-1992), Lin Wenzheng (1903-1990), and Li Jinfa (1900-1976), and later returned to China to serve as a professor in the Pattern Department of the National Academy of Arts. [10] After that, Sun Fuxi went to France again in 1929 to study, and Sun Fuyuan also went with him, expanding their horizons and forming the position of "Art Style" with the exchange of Chinese and Western literature and art as the main purpose. 〔11〕
The birth of the monthly magazine "Yifeng" is not only the support of the Yifeng Bookstore, but also due to the establishment and editing of the Yifeng Society. The Yifeng Society was established in Hangzhou on January 1, 1933, and was initiated by Sun Fuxi, Xu Beihong (1895-1953), Zhang Shuxu (1900-1957), Chen Shuren (1884-1948), Wang Yachen (1894-1983) and others, with Sun Fuxi as the president. [12] Most of the members of the above-mentioned Yifeng Society were famous Chinese artists and authoritative educators at that time, and their participation not only consolidated the academic status of the Yifeng Society, but also added popularity to "Yifeng". Yifeng Society is not only the editorial team of Yifeng Monthly, they have also held a series of art activities, held many exhibitions in Shanghai, Nanjing, Guangzhou and other places, and Yifeng also published a special number for the exhibition. [13] Sun Fuxi's choice to set up the Art Wind Society in Hangzhou and publish the monthly magazine "Art Style" is related to his long-term teaching at the National Academy of Arts. It should be pointed out that during the release of "Art Style", the National Academy of Arts has been renamed the National Hangzhou Art College (referred to as "Hangzhou Art College") [14]. In addition, Pan Tianshou (1897-1971) and Zhong Jingwen (1903-2002), who were also members of the Art Wind Society, were also engaged in educational work in Hangzhou at this time. [15] In summary, the joint support of the Art Wind Society and the Hehe Book House has brought advantages in the delivery and marketing of the manuscripts of "Art Style".
Although Sun Fuxi, editor-in-chief of Art Style, is not a member of the China Society of Arts studying in France, he has made many contributions to promoting the development of the organization. The China Society of Arts studying in France was spontaneously established by young students who went to France to study art, and the organization was born at almost the same time as the monthly magazine "Art Style", including Chang Shuhong, Liu Kaiqu (1904-1993), Xie Touba (1902-1995), Wang Linyi (1908-1997), Lu Sibai (1905-1973) and Tang Yihe (1905-1944), and dozens of other artists, who put forward the main goal of " Guiding China's disordered art movement with a clear goal." [16] The Chinese Society for the Study of Arts in France can be traced back to the Hops Society, founded in France in 1924, both of which bear the French name of the group "Association des Artistes Chinois en France" (abbreviated as "AACF"). [17] Academics have always regarded the China Study in France Art Society and the Hopps Society as two separate art societies for study. However, comparing the catalogue of the "Exhibition of Chinese Art" held by the Hops Society in 1924 and the catalogue of the "Exhibition of Works of members of the Chinese Society for the Study of Art in France" held by the China Society for the Study of Art in France in 1946, it can be seen that the French names of both are AACF, so the Chinese Art Society and the Hops Society should be regarded as different stages of the same art group. [18] The establishment of the China Society for the Study of Art in France can be seen as the rebirth of the Hops Society in France in the 1930s, while the transnational cooperation between the monthly magazine "Art Style" and the China Society for the Study of Art in France continues the interaction between Apollo magazine and the Hops Club in China.
The nature and operation of the Society can be seen from the "Brief Chapter of the Chinese Art Society studying in France" published in the magazine "Art Style". The Chinese Society of Arts studying in France adopts a membership system and establishes five units of general affairs, clerical, exhibition, publishing and accounting, with two members per unit, for a term of one year, elected by the general assembly. [19] The Society set up a special publishing unit to demonstrate the members' desire to publish publications and publications, and the first "Publishing Unit" of the group was composed of Qin Shanxun (i.e., Qin Xuanfu, 1906-1998) and Liu Kaiqu as members, responsible for "editing journals and collecting manuscripts" and "arranging the schedule of lectures". [20] The Chinese Society of Art studying in France was active in Europe in the 1930s, and in the face of realistic regulations in foreign countries, they failed to achieve the goal of organizing and distributing publications. It can be seen from the publication of the "Brief Chapter of the China Study in France Art Society" in "Art Style", which shows that the two had contact and cooperation intentions at the beginning of their establishment.
Later, the "Special Number of the China Art Society studying in France" published by "Art Style" highlighted the tacit understanding and interaction between them. Sun Fuxi's second visit to France was not yet established when the Chinese Society for The Study of Art in France was still in place, but many of the future members of the Society were already studying art in France. During this time, he developed a friendship with them. In the "Special Number of the China Society for Studying Arts in France", Sun Fuxi wrote the article "How Can Chinese Art Take Root Now", he wrote: "The students who study in law and art have never had any organization, not only have they not had the opportunity to study and meet together, but even the names and numbers have no way of knowing... The organization of the China Society for the Study of Arts in France is really necessary, and it is even more necessary to publish the special number of the China Society of Arts studying in France in China. [21] Sun Fuxi realized from his personal experience that the domestic art and literary circles needed to be in line with foreign countries, and hoped that the two would maintain long-term ties and concerns, reduce the misunderstanding and prejudice of the art circles at home and abroad, and enhance the exchanges and cooperation between the two. As for Sun Fuxi's talk in this article about the lack of Chinese art organizations in France at that time, it is not to deny the existence of organizations such as the Hops Society, the Art Engineering Society, and the China Art Association established in the 1920s, but to painfully feel the vacancy of the organization of artists studying in France and the urgency of art exchanges at home and abroad after the return of Hops Society member Lin Fengmian and others in the late 20s and early 30s.
2. East-West Exchanges: Art Communication and The Shift of Folk Perspectives
According to the first article of the special article of the "Art Style" and the China Society of Arts studying in France, the rebirth of the Chinese Art Society in France has made "students in foreign countries have mutual contact", and overseas students also "have mutual contact with domestic 'peers'". [22] In order to enable the people to have a practical understanding of the art trends of the popular world, Art Style published a large number of masterpieces by European artists, such as Paul Cézanne (1839-1906) 'Self-Portrait', Picasso's "The Seashore", and Matisse's (1869-1954) "The Woman in Front of the Fish Tank". [23] On the one hand, it enhances the audience's reading interest, and on the other hand, it also achieves convergence with foreign art trends.
"Art Style" and the China Society of Arts studying in France are not only committed to the dissemination and exchange of Chinese and Western modern art, but also look back at China, inspiring the exploration interest of ancient Chinese art and folk art. The rise of European and American archaeology in the 19th century indirectly triggered a boom in the establishment of art galleries, museums and other cultural institutions, providing a public space for displaying cultural relics and works of art from all over the world, a large part of which came from China. Sun Fuxi realized that Chinese art also needed to be explored and studied in China. He published "Folk Special Number" to assist in the promotion of Chinese folklore in the field of art. [24] Members of the Hops Club contributed many articles in the "Folk Special Number", such as "Guangzhou Lion Dance" filmed by Liu Jiebiao and "The Great Hall of the Lingyin Temple in the West Lake" photographed by Zeng Zhushao. [25] In addition, Yifeng also set up a column entitled "Folk Garden" for the literary and art circles to continue to discuss the topic of folk art. 〔26〕
The monthly magazine Yifeng's focus on folk art also extends to the use of folk elements. Sun Fuxi emphasized in the article "How Can Chinese Art Take Root now": "Only by expressing folk things in a broad way" can we stimulate the creativity of Chinese painting and make Chinese art take root. [27] After returning to China, many artists studying in France turned their attention to traditional Chinese art and art history, and also focused on the future of folk art. Chang Shuhong's research and protection of Dunhuang art after his return to China is an example. In addition, during his studies in France, Son found that folk art also influenced the creation of modernist works of art by French artists, such as Pablo Picasso (1881-1973) who admired the collection of African folk art in the Collection of the Musée d'Ethnographie du Trocadéro in Paris. [28] He wrote in the article "Aftermath": "At that time, the exhibition of the carved decoration of black Africans and American reds was very influential on The Fauvist Cubism. [29] Obviously, the source and trend of the development of Western modernist art are provided to Chinese readers to appreciate through articles published in "Art Style", and readers are also aware of the value and influence of local cultural relics and folk art.
In addition to cooperating with Art Style as a group to issue a special number, the members of the Society also actively submit articles to other magazines issued by The Society in their personal capacity, which shows the depth of their connection and their enthusiasm for art communication. In 1934, Chang Shuhong published an article entitled "Modern Chinese Paintings Seen in French Museums" in "Literary and Art Tea Talk", introducing the Chinese painting exhibition held in Paris to the Chinese people. [30] "Literary Tea Talk" is a magazine founded by Shanghai literary and artistic people. Writer and editor of "Literary and Art Tea Talk" Zhang Yiping (1902-1947) [31] published an article entitled "Talking About "Literary and Art Tea Talk" in the first issue of The First Issue of the First Volume of "Literary and Art Tea Talk", writing: "For the seventh time, more than a dozen of our friends have held a literary and art tea party on the beach in the hustle and bustle... We also don't have a certain creed, whether you are classicist, romantic or naturalist, whatever, as long as you love literature and art, always come and do not refuse... We want to have some achievements in the literary tea in our mouths, so we publish this little literary tea talk. [32] The article states that "Literary Tea Talk" will treat all forms of art with an inclusive attitude and receive all kinds of Western artistic trends to spread in China, which coincides with the main purpose of "Art Style" to break the prejudice of Chinese art factions. At the end of the article, "publishing this small literary tea talk" is actually very appropriate, "Literary Tea Talk" is only about forty pages, which is indeed "small" compared with the average length of more than 100 pages of "Art Style". 〔33〕
The successive establishment of art publications such as "Art Style" and "Literary Tea Talk" highlighted the prosperity of publishing culture in the 1930s, but this phenomenon also hides certain dilemmas. The "918" incident in 1931 officially kicked off the prelude to Japan's war of aggression against China; the following year, the Japanese army shelled Shanghai and broke out the "1.28" incident, and in early February of the same year, the Japanese army attacked Nanjing again, and soon the three northeastern provinces were all lost, and Japan established a puppet regime of puppet Manchukuo in the northeast; the "July 7" incident in 1937 led to the full outbreak of the War of Resistance Against Japan. In addition to facing the problem of lagging cross-border communication, Art Style and the China Society of Arts studying in France also face social turmoil and economic pressure. In the fourth year of the release of "Art Style", Sun Fuxi published an article entitled "Afterword" in "Modern Art Special Number", in which he wrote: "The China Art Society studying in France asked the Art Wind Society to publish it with the 'Modern Art Special Number', which is considered very honorable in the Art Wind Society. Unfortunately, our company is in a time of economic difficulties... Now, struggling to support, although there are many shortcomings, it is finally printed, in addition to thanking the art society, but also apologizing to the author and readers. [34] Although neither Yifeng Magazine nor the China Society of Arts studying in France has ever published the actual situation of economic operations such as mutual contribution fees and publishing cooperation, the two still choose to work together in difficult and difficult times, showing that the feelings of Sun Fuxi and the members of the society are above economic interests. For the subsequent development, Sun Fuxi also clearly pointed out the challenges of the general environment at that time in the "Compilation": "There are not many critics who study modern Chinese art, and the second is the relationship and influence between modern Chinese art and world art, and it still needs to be studied in a practical way." [35] Sun Fuxi, as an artist studying in France, continued to face challenges in many fields during his ten years of return to China, and his personal experience made him realize that the implementation of artistic modernization is not achievable overnight, and it is necessary to cooperate with many parties and through school education and social aesthetic education to cultivate the knowledge, morality and artistic cultivation of the people. Therefore, although "Art Style" and the China Society of Art studying in France ended with the cooperation "Modern Art Special", the fate of the two is closely linked, and they jointly contribute to the development of modern Chinese art.
3. Art Education: Social Aesthetic Education and the Responsibility of Resisting Japan and Saving the Country
China's publishing industry has promoted the development of modern and contemporary education and cultural undertakings in China, and the monthly magazine "Art Style" is also indispensable. [36] During the Republic of China period, art and culture education was subordinate to the Department of Social Education, which was established side by side with the Department of General Education and the Department of Special Education, and was in charge of matters such as literature and art, music, and drama, as well as activities in public venues such as art museums and art exhibitions. [37] Sun Fuxi, editor-in-chief of Art Style, and members of the society in foreign countries are well aware that Chinese social education requires their experience, and the "Special Number of the China Art Society studying in France" not only emphasizes the urgent need for China to establish art galleries, organize exhibitions and edit art series, but also calls for the innovation of higher art education. 〔38〕
Sun Fuxi put forward the concept of "setting up a roving art teacher" in the "Special Number of the China Art Society studying in France". He pointed out that there are shortcomings in the current textbooks of art departments, emphasizing that teachers must teach in precision and detail. [39] The lack of higher education textbooks during the Republic of China period, coupled with Sun Fuxi's teaching at the Hangzhou Art College, it can be speculated that "Art Style" may be used as a reference book for higher art education for teachers and students of Hangzhou Art College. [40] Liu Kaiqu published a translation of "Park Hortle's Sculptural Teaching" in Yifeng, using practical cases to provide reference for Chinese art teaching. Bourdelle, 1861-1929) [41] was given a class admonition to the Chinese teacher: "When a student has talent, let him be free." If man were to teach him to act too logically, he would lose his senses, and sensuality should be the first good quality of a true artist", and pointed out that the pupil's senses should always be trained so that the pupils were not buried. [42] In addition, Chang Shuhong suggested "establishing a division of art" and establishing other artistic disciplines other than painting, such as drama, architecture, sculpture, music, patterns, films, dance, photography, etc. [43] "Art Style" and the China Society of Arts studying in France not only provide their own thinking and theoretical guidance for the construction of Chinese art education, but also devote themselves to education after returning to China, leaving a strong mark in the history of modern and contemporary art education in China.
Education looks to the future, and saving lives is the most urgent task at that time. The members of the China Art Society studying in France are well aware of the crisis of the motherland and have undertaken the heavy responsibility of uniting the people to resist Japan. The "Special Number of Spring", published in March 1933, said in the opening sentence: "The special number of Spring is using the encouragement of spring to arouse the strength of our lives; with strength, we can resist Japan and whatever we want. [44] Gao Jianfu published an article entitled "Declaration to the Japanese Art Circles and A Message to the World" in The 5th issue of Volume 1 of Art Style, exposing Japan's crime of invading China in 918 and talking about the "1.28" Japanese army's breach of contract and shelling of Shanghai: "I did not expect that the warlords of your country had sneaked into Shenyang on the night of September 18 of the previous year, forcibly occupied our three eastern provinces, and used the concession to stir up Tianjin. Last year, in the first month of the new year, we repeatedly attacked the city of Shanghai, which has no defense culture, flouted national diplomatic relations, betrayed the convention, was violent and wanton, and looked at the whole world, willing to risk the world's great disobedience and undermine the great peace of the world. [45] In addition, he has continuously published many articles and creations on such topics, such as "The Night of January 28 - For the Anniversary of January 28" [46], "Resistance" [47], and "Refuge of Villagers in Northeast China" [48], which highlights the anti-Japanese stance of "Art Style" and also practices the artistic sensitivity and sense of responsibility of artists and "Art Style".
The reborn of the Chinese Society of Art in France was in turmoil, and the effects of the 1931 September 18 Incident in China continued until 1933, triggering the Japanese policy of invasion of China in the "Rehe Incident" [49], and shortly thereafter Japan and Germany announced their withdrawal from the League of Nations. [50] After the German referendum of 1934, Adolf Hitler (1889-1945) was given the position of Führer and Chancellor, and a series of political events and riots brought Europe towards World War II. Under such a tense political situation, in order to maintain the image of the nationality and inspire the Chinese people, the members of the Chinese Art Society in France jointly resisted the aggression of the Japanese Kou and actively discussed the national survival plan and the future of Chinese art through the platform of "Art Style" and other artists. [51] Articles such as "How Modern Chinese Art Can Take Root in the Soil"[52], Chang Shuhong's "Past Mistakes and Prospects for the Future of China's Art Nouveau"[53], Chen Zhixiu's (1908-1979) "We Need a Harmonious Artistic Air" [54], and Wu Zuoren's (1908-1997) "Art and Chinese Society" are all dedicated to sounding the alarm for the motherland and strengthening national consciousness within the framework of educational modernization. 〔55〕
Chang Shuhong Huaixiang Qu (1931) was published in Yifeng, Vol. 2, No. 8, p. 31, 1934
In his article "The Past Mistakes of China's Art Nouveau Movement and the Prospects for the Future," Chang Shuhong criticized the difference between the "Europeanizers" and the "Nationalists" because they valued the spirit of the individual "rather than the soul of the nation." [56] He believes that China needs "a concrete form of art that expresses the national spirit, the life of the times, and cannot be divorced from the times and the national spirit and create another unrelated heterogeneity." [57] In order to express China's internal and external troubles and the people's suffering, Chang Shuhong used many Chinese folk elements to compose "Nostalgia Song (1931)" that directly expressed his patriotic feelings, which was published in "Art Style" [58]. Another work published at the same time, "Portrait of The Chinese Minister to France Gu Weijun", reveals his sincere admiration for the national salvation heroes. [59] After the September 18 Incident, When China was committed to instigating diplomacy and winning foreign aid, Gu Weijun (1888-1985) was ambassador to France and chief representative of the Chinese delegation of the League of Nations, frequently traveling between Paris and Geneva, mediating between European and American dignitaries and fighting for the interests of the country. At that time, no one in China's diplomatic circles could match the fatigue of working for the country and the weight of the task. [60] From 1932 to 1936, Gu Weijun served as "Minister to France"[61], and in 1936 the Chinese Legation in France was upgraded to an embassy, and Gu Weijun's official title was also promoted from minister to ambassador. [62] Chang Shuhong combined traditional Chinese painting and Western techniques when creating this painting, leaving the background blank, and the names and titles of the people in the inscription paintings above the paintings, which imitated the traditional Chinese painting style of emperor portraits and also integrated the political meaning of portrait painting into the work. This painting only appears on "Art Style", and has never appeared in any exhibition activities since then, and there is no trace of it, which proves the unique research value of "Art Style" in the field of Modern and Contemporary Art History in China. 〔63〕
Members of the Chinese Society of Arts studying in France went to France to study, aiming at modernity to absorb Western knowledge, while witnessing Chinese cultural relics and folk art in foreign countries attracted much attention, but aroused their different patriotic feelings. Chang Shuhong once said that when he saw the Dunhuang Catalogue in France, he found that the artworks from the motherland were "strange things" to him. [64] In his book "Ninety Spring and Autumn - Fifty Years of Dunhuang", he recalls that teachers in French academies and studios encouraged him to bring his "patriotic ideas" into his artistic creations.[65] The similar experiences of other students studying in China also brought a decisive impact on their personal creations, strengthening their identification with and pride in Chinese culture, and prompting them to participate in national construction and devote themselves to education after returning to China. At the time of the upsurge, "Art Style" and the China Society of Arts studying in France did not do nothing to gather patriotic enthusiasm and boost morale.
conclusion
The cooperation between Yifeng and the China Society for the Study of Arts in France in the 1930s was at its peak, but was forced to end due to the economic crisis and political turmoil, while most of the members of the Chinese Society for the Study of Arts in France chose to return to China. Sun Fuxi later taught at several academies of fine arts and also served as an administrator, and presided over the preparation of the Guilin edition of travel magazines. [66] In 1937, the Art Society of China lost its core media associated with China, Yifeng, but continued to convey the spirit of Chinese art in various ways until the return of its members after the end of World War II, and its traces finally disappeared in 1951. [67] Looking back at the cooperation between the monthly magazine "Art Style" and the China Society for the Study of Arts in France nearly a hundred years ago, the ups and downs of the stormy meeting, while having hopes for China's future, they cultivate the knowledge and morality of the people through the perspective of art, and elucidate the true meaning of national art, and all kinds of photographs are the epitome of the modern process of Chinese art, and have become a strong stroke in the history of modern and contemporary Chinese art.
The monthly magazine "Art Style" and the timeline of the China Society of Arts studying in France
exegesis:
[1] Zhai Jun, "Art Educator and Senior Editor Sun Fuxi", in Zhejiang Today, No. 5, 2004, p. 43.
[2] Art Style, Vol. 1, No. 2, 1933, p. 4.
[3] Chen Mingyuan, "The Economic Life of Cultural People", Shanghai Wenhui Publishing House, 2005, p. 48. For more information about Shanghai's publishing industry, see Christopher A Reed, Gutenberg in Shanghai: Chinese Print Capitalism, 1876-1937, Honolulu: University of Hawai'i Press, 2004; see also Barbara Mittler, A Newspaper for China? Power, Identity, and Change in Shanghai’s News Media, 1872-1912, Cambridge, Mass.: Harvard University Asia Center, 2004。
[4] For the issue of Theo-Hee Bookstore and its publications, see Deng Jitian, "The Publishing Platform of Modern Chinese Literature: Statistics and Analysis of Literary Publications in the Late Qing Dynasty and the Republic of China Period (1902-1949)", East China Normal University, 2009 Doctoral Dissertation, pp. 82, 255-268. See also Lü Xiaoying' Commentary on Sun Fuyuan, China Social Sciences Press, 2011, p. 2.
[5] Zhou Bo, "Journal of the Republic of China from the Perspective of Graphic Design History", included in Chen Xiangbo and Xu Ping, eds., Collected Documents of Chinese Graphic Design in the 20th Century, Guangxi Fine Arts Publishing House, 2012, p. 58.
[6] Deng Jitian collected a large number of literary and art publications published during the Republic of China period, and through statistics, the life of the publications at this time was only "0.88 years". See Deng Jitian, "The Publishing Platform of Modern Chinese Literature: Statistics and Analysis of Literary Publications in the Late Qing Dynasty and the Republic of China (1902-1949)", p. 257.
[7] Sun Fuxi once said in his article "Deeply Experiencing the Happiness of the New Era- Recalling the Situation in the Art World Before and After May Fourth": "Art Style was founded in January 1933; from 1937 onwards, railway advertising expenses stopped, but it was still used to accumulate over the years, maintaining three more issues, and stopped publication in March 1937, three months before the War of Resistance Against Japan. See Sun Fuxi, "Deeply Experiencing the Happiness of the New Era: Recalling the Situation in the Art World Before and After the May Fourth Movement"", in Fine Arts, No. 5, 1957, p. 10. However, at present, the academic circles have not yet found the three issues published in 1937 described by Sun Fuxi, and the details of these three issues of "Art Style" need to be further examined.
[8] Sun Fuxi, "Remembering My Teacher - Mr. Lu Xun", published in Teacher's Daily on October 19, 1956. Sun Fuyuan was acquainted with Lu Xun in middle school, and he once mentioned in his memoirs: "I first met Mr. Lu Xun at the Primary Normal School in Shaoxing. That year was the third year of Xuan reunification, and I was eighteen years old and studying at the Shaoxing Junior Normal School. See Sun Fuyuan's "Crying Mr. Lu Xun", included in "Mr. Lu Xun's Two and Three Affairs", Hunan People's Publishing House, 1980 edition, page 1.
[9] Zhang Xiaojun, "Between Art and Diplomacy: A Study on the Hops Society-Chinese Society for The Study of Art in France" (AACF), Sichuan University 2020 Doctoral Dissertation, pp. 53-54.
[10] Peng Fei, "The Support of Sun Fuyuan and Sun Fuxi Brothers for Lin Fengmian: Lin Fengmian Research No. 8", in RongBaozhai, No. 5, 2007, p. 280.
[11] Qin Xianci, "Examination of the Date of Return of Literati From Abroad during the Republic of China Period (Continued I)", included in New Literary Historical Materials, No. 2, 2006, p. 28. See also Lü Xiaoying' Commentary on Sun Fuyuan, China Social Sciences Press, 2011, p. 180.
[12] Xu Zhihao, "A Chronicle of Chinese Art Societies", Shanghai Calligraphy and Painting Publishing House, 1994 edition, p. 135.
[13] Yifeng has been issued three times for the "Yifeng Society Exhibition": no. 6 in 1934, no. 5 in 1935, and no. 5-6 in 1936. For details, see Also, Art Wind Exhibition No. 2, No. 6, 1934; Special Issues of Art Wind Exhibition, Vol. 3, No. 5, 1935; and Also, Criticism of the Third Exhibition of The Art Wind Society, Vol. 4, No. 5-6, 1936.
[14] The National Academy of Arts was formally established in March 1928 with the support of Cai Yuanpei, with Lin Fengmian as its first president, and in the summer of 1930 it was renamed the "National Hangzhou Art College" by order of the Ministry of Education. The monthly magazine "Yifeng" was published on January 1, 1933, and the school was named "National Hangzhou Art College" during this period, so this paper adopts the title of this stage. See Lin Wenzheng, "Remembering His Father-in-Law Mr. Cai Yuanpei and Hangzhou Art College", "Selected Literature and History Materials of Zhejiang Province, No. 45, Famous Schools and Educators in Modern Zhejiang", Zhejiang People's Publishing House, 2003 edition, pp. 268-275. See also Peng Fei, "Sun Fuyuan and Sun Fuxi Brothers' Support for Lin Fengmian: Lin Fengmian's Study NO. 8", p. 280.
[15] Chun Ran and Huang Zhuan, "Annals of Pan Tianshou's Artistic Activities", included in New Art, No. 2, 1991, p. 17.
[16] "Notice of the Chinese Art Society studying in France", included in Art Style, Vol. 1, No. 8, 1933, p. 67.
[17] Zhang Xiaojun, "Between Art and Diplomacy: A Study of the Hops Society-AACF of the Chinese Society for The Study of Art in France", pp. 2, 153.
[18] The British scholar Kruger believes that the Hops Society (AACF) and the Chinese Society for the Study of Arts in France (AACF) should be one, see Craig Clunas, Chinese Art and Chinese Artists in France (1924-1925), Arts Asiatiques, Tome 44 (1989): 106.
[19] [20] "Brief Chapter of the Chinese Society for The Study of Arts in France", included in Art Style, Vol. 1, No. 8, 1933, p. 68.
[21] [22] Sun Fuxi, "How Can Chinese Art Take Root now", in Art Style, Vol. 2, No. 8, 1934, p. 13.
[23] Yifeng, Vol. 4, No. 7-9, 1936, pp. 13, 15-16.
[24] Shi Jing, "Study on the Monthly Journal of Art Style" (1933.1-1937.3), p. 29. See also Felicity Lufkin, Folk Art and Modern Culture in Republican China, Lanham: Lexington Books, 2016, 45-46.
[25] Liu Jibiao and Zeng Zhushao's "Guangzhou Lion Dance" and "West Lake Lingyin Temple Hall" are included in the "Folk Special Number". See Art Style, Vol. 1, No. 9, 1933, pp. 74, p. 77.
[26] Art Style has created a folk art column in Vol. 3, No. 2-6, No. 8-10, and Vol. 4, No. 4. See Shi Jing, "Study of Yifeng Monthly (1933.1-1937.3)," p. 28.
[27] Sun Fuxi, "How Can Chinese Art Take Root now," p. 15.
〔28〕Yves Le Fur, Through the Eyes of Picasso: Face to Face with African and Oceanic Art, Paris: Flammarion, 2017.
[29] Sun Fuxi's "Afterword", included in Yifeng, Vol. 4, No. 7-9, 1936, p. 179.
[30] Chang Shuhong, "Modern Chinese Paintings Seen in French Museums", in Literary and Art Tea Talk, Vol. 2, No. 8, 1934, pp. 19-20.
[31] Zhang Yiping, whose original name was Zhang Hongxi, was a modern Chinese writer and translator. Together with Xu Zhongnian, he was responsible for editing the Tea Talk of Literature and Art, and Xu Zhongnian (1902-1981) was also a member of the Art Wind Society, and Xu Zhongnian's dual identity shows the close connection between "Tea Talk of Literature and Art" and "Art Style", and is not limited to the same publishing house, see Tea Talk of Literature and Art, Vol. 1, No. 1, p. 27. See also Shi Jing, "Study on Yifeng Monthly (1933.1-1937.3)", Northeast Normal University, 2012 Doctoral Dissertation, p. 10. Regarding Xu Zhongnian's birth and death, some Chinese scholars use 1904 as his date of birth, but according to the student archives of the University of Lyon sino-French, it should be 1902. See Archives de l'IFCL, Bibliothèque municipale de Lyon, fonds chinois, dossier de Hsu Sung Nien.
[32] Yi Ping, "Talking about "Literary and Art Tea Talk"", included in "Literary Tea Talk", Vol. 1, No. 1, No. 1, 1932, p. 1.
[33] The monthly magazine Art Style averages between 80 and 120 pages, with a few issues of more than 150 pages, and Volume 4, Issues 7-9, which are 186 pages high due to the co-authorship of the three issues. See Yifeng, Vol. 4, No. 7-9, 1936.
[34] [35] Sun Fuxi, "Editor's Post-Ed.," p. 179.
[36] Zhang Xiaojun, "Between Art and Diplomacy: A Study of the Hops Society-AACF" (AACF), p. 142.
[37] Li Jianxing, "History of the Development of Social Education in China", Taipei Education Archive, 1986 edition, p. 158.
[38] Sun Fuxi, "How Chinese Art Can Take Root Now," p. 14. See also Chang Shuhong, "Past Mistakes and Future Prospects of China's Art Nouveau Movement", in Art Style, Vol. 2, No. 8, 1934, p. 43.
[39] Sun Fuxi, "How Can Chinese Art Take Root Now," p. 14.
[40] For the development of higher education textbooks in the Republic of China period, see Zhang Lin, Ge Mingjing, and Dong Chaosheng, "Zhengzhong Bookstore and the Development of University Textbooks in the Republic of China Period (1931-1949)", included in the Journal of Xinyang Normal University (Philosophy and Social Sciences Edition), No. 2, 2020, pp. 129-134.
[41] "Park Horthel", the old translation of the French sculptor Emile Antoine Bourdelle, is now "Boudell", who was a student and assistant to the French sculptor Rodin (1840-1917).
[42] Liu Kaiqu's translation of "Park Hotel's Teaching of Sculpture", included in Art Style, Vol. 2, No. 8, 1934, p. 61.
[43] Chang Shuhong, "Past Mistakes and Future Prospects of China's Art Nouveau Movement," p. 38.
[44] Art Style, Vol. 1, No. 3, 1933, p. 2.
[45] Gao Jianfu, "Declaration to the Japanese Art Circle and Telling the World", in Art Style, Vol. 1, No. 5, 1933, p. 20.
[46] Zhang Shicheng, "The Night of 128 - Composed for the Anniversary of 128", in Art Style, Vol. 1, No. 2, 1933, p. 36.
[47] Wang Peihu's "Resistance", included in Art Style, Vol. 1, No. 4, 1933, p. 5.
[48] Jiang Lanpu, "Refuge of Villagers in Northeast China", in Art Style, Vol. 1, No. 11, 1933, p. 43.
[49] The "Rehe Incident" occurred on February 21, 1933, when Japan, in order to consolidate its control over the three northeastern provinces of China, coupled with the resolution adopted by the League of Nations Congress, did not accept the report of the League of Nations Investigation Mission stating that there was no de facto or de jure recognition of the pseudo-"Manchukuo". Japanese imperialism adhered to the policy of monopolizing northeast China, and the Japanese Government immediately reacted strongly. On February 21, 1933, the Japanese government sent more than 100,000 Japanese Kwantung Army and puppet Manchu army to attack Rehe in three ways from Jinzhou as a base, and on February 24, 1933, the Japanese government immediately announced Japan's withdrawal from the League of Nations. See Pao-chin Chu, V.K. Wellington Koo: A Case Study of China's Diplomat and Diplomacy of Nationalism 1912-1966, Hong Kong: The Chinese University Press, 1981, 133-141.
[50] Fu Sinian's "Sleep and Diplomacy", included in The Selected Works of Fu Si Nian (Volume VI), Taipei Wenxing Bookstore Co., Ltd., 1967 edition, pp. 875-878.
[51] Although gao Jianfu, an artist of the Lingnan School of Painting, went to Europe and the United States in the 1930s to investigate, although he did not join the China Art Society studying in France, he published an article in the monthly magazine "Yifeng" condemning the Japanese army's crime of invading China in September 18, see Gao Jianfu's "Declaration to the Japanese Art Circle and Suing the World", included in Yifeng, Vol. 1, No. 5, 1933, pp. 20-23.
[52] Sun Fuxi, "How Chinese Art Can Take Root Now," pp. 13-15.
[53] Chang Shuhong, "Past Mistakes and Prospects for the Future of China's Art Nouveau Movement", in Art Style, Vol. 2, No. 8, 1934, pp. 33-44.
[54] Chen Zhixiu's article published in Yifeng was signed as "Zhixiu", see Zhixiu's "We Need a Harmonious Artistic Air", which was included in Yifeng, Vol. 2, No. 8, 1934, p. 83.
[55] Wu Zuoren, "Art and Chinese Society", in Art Style, Vol. 3, No. 4, 1935, pp. 79-81.
[56] Chang Shuhong, Past Mistakes and Future Prospects of China's Art Nouveau Movement, p. 37.
[57] Chang Shuhong, "Past Mistakes and Prospects for the Future of China's Art Nouveau Movement," p. 41.
[58] Chang Shuhong's "Nostalgia Song", in Art Style, Vol. 2, No. 8, p. 31.
[59] Chang Shuhong, "Portrait of The Chinese Envoy to France Gu Weijun", included in Yifeng, Vol. 2, No. 8, 1934, p. 32.
[60] Dong Lin's translation of "Gu Weijun and China's Wartime Diplomacy", pp. 29, 70. See also Zhang Li, "Gu Weijun and technical cooperation between China and the League of Nations in the 1930s", in Jin Guangyao, ed., Gu Weijun and China's Diplomacy, Shanghai Ancient Books Publishing House, 2001, p. 221.
[61] Zhang Pengyuan and Shen Huaiyu co-edited the Chronology of Officials of the National Government (1925-1949), Vol. 1, Institute of Modern History, Academia Sinica, Taipei, 1987, p. 563.
[62] Zhang Pengyuan and Shen Huaiyu co-edited the Chronology of Officials of the National Government (1925-1949), Vol. 1, Institute of Modern History, Academia Sinica, Taipei, 1987, p. 576.
[63] Zhang Xiaojun, "Between Art and Diplomacy: A Study of the Hops Society-AacF" (AACF), p. 29.
[64] Zhang Xiaojun, "Between Art and Diplomacy: A Study of the Hops Society-AACF of the Chinese Society for the Study of Art in France", p. 22.
[65] Chang Shuhong, "Ninety Spring and Autumn - Fifty Years of Dunhuang", Gansu Culture Publishing House, 1999, p. 17.
[66] Peng Fei, "Sun Fuyuan and Sun Fuxi Brothers' Support for Lin Fengmian: Lin Fengmian's Research VIII", p. 275.
[67] Zhang Xiaojun, "Between Art and Diplomacy: A Study of the Hops Society-AACF" (AACF), p. 1.
Xiaojun Zhang, Ph.D., School of Arts, Sichuan University, Postdoctoral Fellow, University of Oxford
Tan Bangyan, Master of Science, School of Arts, Sichuan University
(This article was originally published in Art Observation, No. 3, 2021)