ABSTRACT Title of Dissertation: PANG XUNQIN (1906-1985) – A CHINESE AVANT- GARDE’S METAMORPHOSIS, 1925-1946, AND QUESTIONS OF “AUTHENTICITY” Xiaoqing Zhu, Doctor of Philosophy, 2009 Dissertation directed by: Professor Jason Kuo Department of Art History and Archaeology This dissertation has three goals. The first is to chart the artistic life of Pang Xunqin (1906-1985) and his art works from 1929 to 1946. Pang’s metamorphosis from an aspiring young artist in Paris and Shanghai in the 1920s and 30s, into an artist in his own right, a graphic designer, an educator, and a scholar of the history of Chinese art and craft, while ceaselessly trying to renew himself – all this is a record that deserves an art historical recognition. The second goal is to locate Pang Xunqin in the historiography of Chinese modern art in an attempt to problematize issues of inclusion and exclusion in the historiography of the field. The third goal, which is closely tied to the second, is to utilize post-colonial inquiries to explore myriad issues of non-Western modernism embodied in Pang Xunqin’s case. Such issues include the divisions among the “traditionalists,” the “academic realists,” and the “modernists,” colonial cosmopolitanism in the Shanghai of the 30s, and the appropriation of “primitivism” in the 40s. Attention also focuses on the issues of authenticity and “hybridity,” Western orientalization of the East and self- orientalization by the East in cross-cultural encounters, and identity politics and nationalistic agendas in the construct of the guohua (national painting) and xihua (Western painting) divide. The post-colonial methodology employed here helps raise questions regarding the binary construct of tradition vs. modernity, the East vs. the West, the center vs. the periphery, and the global vs. the local. By placing Pang Xunqin’s case in its semi-colonial historical and transnational context and by engaging in dialogue with the recent rich scholarship on cultural and post- colonial critiques, in conjunction with a formal analysis of his paintings and designs, this dissertation offers not only a monographic study of Pang’s artistic life but also a critical examination and reassessment of the established art historical narratives of Western- trained artists in the historiography of Chinese modern art. PANG XUNQIN (1906-1985) – A CHINESE AVANT-GARDE’S METAMORPHOSIS, 1925-1946, AND QUESTIONS OF “AUTHENTICITY” by Xiaoqing Zhu Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2009 Advisory Committee: Professor Jason Kuo, Chair Professor Anthony Colantuono Professor Alicia Volk Professor James Gao (Dean’s Representative) Dr. Marilyn Wong-Gleysteen ©Copy Right by Xiaoqing Zhu 2009 The dissertation document that follows has had referenced material removed in respect for the owner's copyright. A complete version of this document, which includes said referenced material, resides in the University of Maryland, College Park's library collection. ii This dissertation is dedicated to my parents, who have nurtured my initial scholarly upbringing; to Dr. David W. Kistler, who has opened the door for me to all the ensuring possibilities; to my daughter Lia Wang, who has kept me anchored within doors. iii Notes to the Reader All translations are by the author of this dissertation, unless otherwise indicated. Chinese names appear in Chinese name order with the family name first, e.g., Pang Xunqin, except for authors of English-language publications or authors who write primarily in English, e.g., Shu-mei Shih. Chinese terms and names are romanized using the pinyin system. Other forms of spelling, if commonly known would be indicated in brackets. iv Acknowledgments This dissertation would not have come to fruition without assistance and blessings from the four corners of the globe. I am taking this opportunity to remind myself of my good fortune and of the individuals who have lent a helping hand along the way. In China, I especially want to thank Professor Pang Tao, who graciously agreed to meet me in the summer of 2007 and who patiently, during my interview and in our subsequent email exchanges, answered many questions regarding her father, Pang Xunqin, the artist at the center of this study. Her grace and elegance and her artistic passion and enthusiasm echo the qualities of her artist parents that I was too young to meet and yet became so familiar with, particularly Pang Xunqin through his artworks and writings. I am especially grateful to Professor Shao Dazheng, who, in his ever demanding administrative and academic capacity, still remembers my work and sends me valuable references. My disciple-like gratitude goes to Professor Chen Ruilin, who kindly helped me make necessary contacts for my research in China and guided me through many enlightening conversations we had in Beijing, illuminating my thoughts on Pang Xunqin. My deepest gratitude goes to many friends and colleagues in China, Cao Hong and her husband, Professor Zhou, from Peking University, Wen Jingen Laoshi, Professor Zheng Yan, Professor Zhang Gan, Professor Shao Yiyang, Ma Xiaolin from Hangzhou, and my friends from college, Chen Ge and Mao Lin, all of whom have, in their various ways, helped me with making contacts, obtaining references, and buying books, or by simply treating me with delicious meals and pleasant and restful times. Their kindness and friendship are especially treasured. v My special gratitude goes to Professor Fan Di’an, director of the National Art Museum of China, and Mr. Wu Wenxiong, director of Changshu/Pang Xunqin Art Museum, who kindly agreed to allow me to view Pang Xunqin’s original works at the museum. For this I am forever grateful. In Changshu, I especially want to thank Professor Wang Jian, who kindly showed me around on his motorcycle the hometown of Pang Xunqin and the house where Pang grew up and informed me of the rich cultural and intellectual history of this enchanting lake town. I am particularly grateful to the Changshu Institute of Technology which provided me accommodations while conducting my research in Changshu. Administrators of the Changshu Institute of Technology and its faculty welcomed me with their warm hospitality and kindness. Professor Qian Weichang and the retired director of the Changshu and Pang Xunqin Memorial Museum, Zhong Weixing, kindly accepted my interview and provided me with valuable references. The kindness of Mr. Zhong Gongtai at the Changshu Museum will not be forgotten. In the United States, at the University of Maryland, I owe an intellectual debt to the Department of Art History and Archaeology, which provided me with academic and financial support throughout my residential years. The intellectual guidance and support from the faculty and the staff of this fine department have made my educational experience a most fruitful and unforgettable one. Deborah Down’s timely efficiency, Quint Gregory’s reliable presence, Lauree Sails’ quiet support, and Ania Waller’s administrative resources have made my experience at this department a happy one. Professors Anthony Colantuono, Meredith Gill, June Hargrove, Steven Mansbach, William Pressly, Sally Promey (currently at Yale University), Marjorie Venit, and Arthur Wheelock have all in varying ways supported me with their guidance and encouragement. vi Here I especially want to thank Professor Colantuono, Professor Promey, Professor Yui Suzuki, and Professor Alicia Volk, who have provided me valuable and illuminating guidance for my dissertation proposal and on my defense committee. I am especially grateful to Professor Promey, who unfailingly expressed her confidence in my work, and Professor Volk, who offered me critical guidance and expertise in helping improve my dissertation. I owe my profound gratitude to Professor Steven Mansbach, whose graduate seminar provided me the initial opportunity to study Pang Xunqing and the Storm Society. It was in the seminar paper for Dr. Mansbach’s class that the first seed planted that has finally grown to fruition. I owe my deepest and most sincere gratitude to my adviser Professor Jason Kuo, who has tirelessly encouraged me and urged me to move forward at times of uncertainty about myself and my work. Without his pragmatic and intellectual support, I would not be where I am in my academic journey. Professor Kuo’s unfailing trust in my intellectual ability to explore difficult questions has allowed me space and freedom to grow into an independent scholar. I am also grateful to Dr. Marilyn Wong-Gleysteen for her suggestions for improving my dissertation. At the University of Maryland Department of History, I am most appreciative of Professor James Gao, who was on my dissertation defense committee and offered me valuable suggestions for improving my dissertation. I owe special thanks to Professor Andrea Goldman (currently at UCLA) who taught me how to think like a historian and guided me to the most current historical scholarship that has illuminated my thinking process. I have also benefited immensely from the seminar on the historiography of vii Chinese history offered by Professor William Rowe, who kindly allowed me to audit his class at the Johns Hopkins University. I would also like to thank all my fellow graduate students at the University of Maryland, especially Ben Benus, Emily Grey, Suzie Kim, B.G. Zen, Seojeong Shih, Jen- yu Wang, Xingkui Wang, Jinmin Zhang, and Zehao Zhou, for their camaraderie, insightful conversations, and, at times, simply exchanges regarding the frustrations that come with the ordeal of getting an academic degree in the Art History field. Thanks to the Florence Tan Moeson Fellowship from the Library of Congress, Asian Division, I was able to discover valuable sources for my dissertation. Special thanks go to Dr. Anchi Hoh, Dr. Jeffrey Wang, and Mr. Jianjing Zhang of the Asian Division, especially Mr. Zhang who has patiently introduced me to various catalogue and electronic resources and continued to answer my requests via email correspondences.