introduction
In 1074 AD, a minor official, Zheng Xia, painted a long-scroll work "Map of Displaced Persons". It is said that the peasants who fled the wilderness were painted as displaced people, and the two empresses shed tears when they saw this scene, and the prime minister of the dynasty was Wang Anshi, and Shenzong also began to be biased towards Wang Anshi.
Zheng Xia's "Displaced Person Diagram"
<h1 class="pgc-h-arrow-right" > Xiaoqiong: Your father is a lover</h1>
"Your father is a love seed," Jiang Zhaohe's wife, Xiao Qiong, said to her daughter. Since then, he has also opened his daughter's box and told the story of his father.
One afternoon in 1943, Her mother Xiao Qiong accompanied her grandfather Xiao Longyou to prepare to visit Her Father's "Map of displaced people".
When he first arrived at the Taimiao Temple, he found Jiang Zhaohe with a solemn look, and later learned that he had already learned the news that the exhibition was banned, and Jiang Zhaohe later recalled the picture of a wordless policeman respectfully saluting himself in the process of withdrawing the exhibition, and his eyes were still red.
Xiao Qiong and Jiang Zhaohe
Wang Qingfang, one of the "Four Monsters of Beijing (Jiang Yunong, Li Kuchan, Bai Duozhai and Wang Qingfang)", Chinese painting, printmaking, seal engraver, his works are derived from real-life feelings, such as "All in the Autumn Wind, the Conscripts Have Not Returned" extends the anti-war allegorical meaning.
Wang Qingfang
During the creation of "Displaced Person Map", Wang Qingfang, Wu Shixun and many other professors modeled for "Displaced Person Map", and the subject matter of creation determined the degree of danger of the artist.
Since the July 7 Incident in 1937, When Peiping was occupied by Japan, any writer, artist, and musician who worried about the country and the people was shrouded in an environment of being monitored by spies and traitors, and Jiang Zhaohe and the creative team, as a "love breed", naturally had the "care" of some people, and these outsiders also became "regular customers" who patronized his studio, and it was inevitable to induce and co-opt.
< h1 class="pgc-h-arrow-right" > Yin Tong's appearance has ambiguous the positioning of the work</h1>
In 1940, Yin Tong was appointed as a member of the Political Committee of the Central Committee of the Wang Puppet Kuomintang and vice president of the New People's Association, and once seduced his brother-in-law into joining the traitorous organization. Since Yin Tong got to know Jiang Zhaohe and decided to fund and support him to complete the "Map of displaced people", things have undergone a qualitative change, and whether to paint or not to paint has become a cloud in Jiang Zhaohe's heart.
Student Guo Mingqiao recalled that he often saw the floor of the teacher's house full of cigarette butts, lying in a sad place.
The reason is very simple, Yin Tong threw an intriguing sentence before leaving: "I hope that Chiang Kai-shek will understand the drawing." Since then, "Map of displaced persons" is no longer a creation of worrying about the country and the people, and overnight it has become an important evidence that the political situation has made the rudder.
On the last day of the solar calendar in 1942, Yin Tong died of illness without seeing the sun on New Year's Day 1943, at which point Jiang Zhaohe was relieved, but the political cloud of "The Map of Displaced Persons" was not reduced in the slightest.
It was reported that the first part of the money was funded by Yin Tong, but later Jiang Zhaohe decided not to ask him for money for his originality, thinking, and the integrity of expression, and turned to a more free way of fundraising, and even in the process, Yin Tong did not see the original appearance of the manuscript. Scholars have no way to verify this statement.
But the fact is that in 1943, the "Displaced Person's Map" was finally completed, but it did not hide from the eyes of the Japanese gendarmes, and the exhibition was eventually banned, and as for all the later claims that the light was too dark to be banned, it was still impossible to change the fact of the withdrawal.
In 1944, "Picture of the Displaced Persons" was exhibited in Shanghai, and her daughter recalled that the name of the "Charity Sale for Students" was set up at that time, avoiding the embarrassing situation in Beiping before, but still after the exhibition, the work was confiscated and its whereabouts have been unknown ever since.
<h1 class= "pgc-h-arrow-right" > mr. Jiang Zhaohe, who is miserable and compassionate</h1>
If Jiang Zhaohe is a veritable "tragic artist", then his works with the toiling masses themselves become the endorsement of his tragedy:
"The unfortunate people, the plagues are everywhere, the exiles are displaced, the old and the weak are helpless, the poor and the sick are intertwined, the masses who are waiting to be fed, who are waiting for food and clothing, and who still have nothing, do you know that there is heaven and happiness on earth? But I wonder how our comrades who are art for art's sake will feel? What do you want? ”
From Jiang Zhaohe's original words, we can feel his persistence and persistence, which also confirms his wife's evaluation of his "love species".
An artist's artistic creation and source of inspiration is the only fire of life in his art, and for Jiang Zhaohe, by recording and depicting the tragic life of the toiling masses, it is also his basic view of advocating humanitarianism.
Without the source of these creations, his artistic life is over, so the theme of humanistic care is Jiang Zhaohe's lifelong pursuit, no one wants his art works to be burned after painting, and the more valuable way is to leave the name of the work in history to show future generations.
From this point of view, Jiang Zhaohe must create his works to the end no matter what, and this stubborn ideal makes him have not lived an easy and comfortable life for almost a lifetime, and the doomed tragic life also adds a little sadness to these surviving works.
< h1 class= "pgc-h-arrow-right" > the core question is "anti-Japanese and patriotic" or "anti-war and peace"</h1>
The focus of all the controversy is the political purpose of the work, and there is indeed no shortage of historical records of Jiang Zhaohe's several pasts with the Japanese authorities, whether he took the initiative or was coerced, and the result of this move is the question of the tendency of the position.
Wang Jingwei
In the sensitive era on the eve of liberation, any act of detachment from the war itself would be heavily colored, and the vernacular was: "Fire is on the house, do you pour fuel on the fire or hurry to extinguish it?" The arson party wants you to take a barrel of gasoline, and the fire extinguisher wants you to carry a bucket of cold water. But Jiang Zhaohe chose a bucket of water for the hungry and thirsty people to drink, which solved the problem of their hunger and thirst.
Jiang Zhaohe's works of art have indeed profoundly expressed the tragic lives of the poor people, and have also made countless patriots passionate, and the concept of "anti-war and peace" has been unmistakable.
The evaluation of history is precisely in the morning and night, because of the continuous occurrence and change of events, affecting this tragic and compassionate artist. The Japanese side's attempt to use the banner of "anti-Western and anti-gong" to win over the "lords and factions" in the National Government is obviously contradictory to the Communists' "main war mentality.", and the revolutionaries have always been extremely vigilant about the issue of "peace."
As the founder of history, this sensitivity is also necessary, after all, the Japanese side signed an "anti-gong treaty" with the Nazis, which is an extremely dangerous signal.
In the historical background of Jiang Zhaohe's works of art, like flying leaves, I don't know where they will drift, but the "peace" concept of the work has fallen at an inopportune time, how can it have the opportunity to be collected as specimens?
In 1953, when the confiscated work was found, it was already mutilated and, like a dying warrior, left me with its last glory.
Stacked
Later, the special era that the old man experienced was characterized as poisonous weeds and again nearly destroyed, until 1979, when the work was called a "realistic patriotic work".
<h1 class="pgc-h-arrow-right" > "truth, goodness and beauty" in art</h1>
The ancient Greek philosophers divided the human mind into three parts: reason, will, and emotion. As a conceptualization of "truth, goodness and beauty", the spiritual values behind its concept are reason, will, and emotion.
I said it was hot today, maybe Africans said the weather was cool, which is true? It is difficult to obtain real value from perceptual cognition, so reason takes precedence, which is the basis of all scientific activity. When we see the man covering his ears, and then see the woman holding the dead child, we can directly understand that the child died of shell bombardment, and the truth of Jiang Lao's pursuit is vividly remembered.
Goodness is the spiritual value of the moral level, all moral activities can reflect whether there is good deeds, all good deeds can be divided into personality goodness and social level goodness, good treatment of oneself, good treatment of others, good treatment of society.
Beauty is not only a spiritual value at the artistic level, but also an indispensable humanistic appeal of life.
From these points of view, pure forms of artistic expression can be endless, and as an audience, we should appreciate the author's thoughts from the aspects of truth, goodness and beauty.
Whether it is true, good, beautiful or praying for peace, the study of Jiang Zhaohe and the "Map of displaced persons" has been hailed by many as the most peculiar modern public case in the study of art history in the twentieth century.
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