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INFORMATION to USERS This Manuscript Has Been Reproduced INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter free, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedtbrough, substandard margin*, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g^ maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. A Beil & Howell Information Company 300 North Zee0 Road. Ann Arpor. Ml 48106-1346 USA 313/761-4700 800:521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with with permission permission of the of copyright the copyright owner. owner.Further reproductionFurther reproduction prohibited without prohibited permission. without permission. THE TWENTIETH CENTURY REVOLUTION IN CHINESE PAINTING AND LI RERAN by Mei-Fen Chen Submitted to the Faculty of the College of Arts and Sciences of The American University in Partial Fulfillment of The Requirements for the Degree of Master of Arts m Performing Arts: Arts Management Signatures of Committee (B -r_- Dean df the College Date 1994 ' t' 7\ m e~\ v* i *■» m T i t f \ v* ^ ► « * Washington, D.C. 20016 113 JUfSBICA!! UHlVERSITy LIBRARY Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. OKI Number: 1361748 Copyright 1994 by Chen, Mei-Fen All rights reserved. tJMI Microform 1361748 Copyright 1995, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. COPYRIGHT BY MEI-FEN CHEN 1994 ALL RIGHTS RESERVED Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. THE TWENTIETH CENTURY REVOLUTION IN CHINESE PAINTING AND LI KERAN BY Mei-Fen Chen ABSTRACT This thesis provides an overview of Chinese painting from the sixteenth century and through the work of Li Reran (1907- 1989) analyzes a significant new direction that occurred in twentieth century Chinese art. In the 1920s, Western influence became important in several Chinese cities and particularly at the National Art Academy of Xihu in Hangzhou. It was here that Li Reran studied from 1929-1932 and developed his particular blend of Chinese traditional art and contemporary Western influences. Reran's work and influence is analyzed in this thesis. II Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS COPYRIGHT NOTICE ................................................ I ABSTRACT......................................................... II LIST OF ILLUSTRATIONS.......................................... IV CHAPTER 1. INTRODUCTION.................................................1 2. OVERVIEW: CHINESE PAINTING, SEVENTEENTH TO NINETEENTH CENTURIES.................................................... 5 3. OVERVIEW: THE EARLY TWENTIETH CENTURY INFLUENCE........ 16 4. LI KERAN: DEVELOPMENT AS AN ARTIST...................... 21 5. LI KERAN: IMPORTANCE AND INFLUENCE...................... 34 6. CONCLUSION..................................................53 APPENDIX......................................................... 55 BIBLIOGRAPHY.................................................... 57 III Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. LIST OF ILLUSTRATIONS Figure 1. Attributed to Wang Wei (701-761). Rivers and Mountains after Snov, undated. Section of a handscroll. Photograph from "The Century of Dong Qichang 1555-1636 Vol. I."................... 7 Figure 2. Dong Qichang (1555-1636). Eight Views of Autumn Moods, dated 1620. Photograph from "The Century of Dong Qichang 1555- 1636 Vol. I." ................................................... 8 Figure 3. Dong Qichang (1555-1636). Wan-Luan Thatched Hall, dated 1597. Photograph from "The Century of Dong Qichang 1555-1636 Vol. I." ......................................................... 9 Figure 4. Wang Shimin (1592-1680). Landscape in the Manner of Zhao Mengfu, dated 1670. Photograph from James Cahill, "The History of Chinese Painting." ................................10 Figure 5. Wang Jien (1596-1677). Landscape in the Manner of Wang Meng, undated. Photograph from "Choice Paintings of the Palace Museums." .......................................................11 Figure 6. Ba Da (1626-1705). Landscape, undated. Photograph from James Cahill, "The History of Chinese Painting."..................12 Figure 7. Huang Binhong (1864-1954). Tianmu Mountain, dated 1955. Photograph from "Masterpiece of Painting by Huang Binhong." .................................................................. 13 Figure 8. Kung .Isien (1620-1689). Trees in a Landscape, undated. Photograph from James Cahill, "The History of Chinese Painting." ............ 14 Figure 9. Qi Baishi (1863-1954). A Mouse and Radishes, dated 1945. Photograph from "Painting Album of Qi Baishi." ............ 15 IV Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Figure 10 Gao Jianfu (1878-1951). The Five Story Pavilion, dated 1926. Photograph from Ralph Croizier, "Art and Revolution in Modern China.” ................................................. 17 Figure 11. Xu Beihong (1895-1953). Tianheng Five Hundred Heros, dated 1928-1930. Photograph from Xie Lifa, "Xu Beihong." ....... 19 Figure 12. Lin Fengmian (1900-1991). The South, undated. Photograph from "Paintings of Lin Fengmian." ........................... 19 Figure 13. Li Reran (1907-1989). The Expulsion from Carden of Eden, 1930. Photograph from Han Mo 25 .................................... 23 Figure 14. Andre Claudot (1892-1982). Mother and Child, 1922. Photograph from Han Mo 25 .................................... 23 Figure 15. Li Reran. Avenue, 1929. Photograph from Han Mo 25 ....... 24 Figure 16. Rarl Schmidt-Rottluff (1884-1976). Landscapes, 1913. Photograph from Sheldon Cheney, "Expressionism in Art." ..24 Figure 17. Li Reran. Calm Autumn at Mountain Pavilion, 1940. Photograph from Han Mo 25 .................................... 26 Figure 18. Li Reran. Hatching a Waterfall under the Pines, 1943. Photograph from Han Mo 4 ..................................... 27 Figure 19. Li Reran. Zhong Kui, 1948. Photograph from Han Mo 25 ....28 Figure 20. Li Reran. Lady, 1943. Photograph from Han Mo 25 ........... 29 Figure 21. Li Reran. Landscapes after the Style of Shi Tao, 1947. Photograph from Han Mo 4 ...................................... 30 Figure 22. Li Reran. Spring Rain in Jiangnan, 1982. Photograph from Han Mo 4... ...................................................... 32 V Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Figure 23. Li Keran. Pavilion by the Lotus Pond, 1985. Photograph from Han.Mo 25 .................................................... 33 Figure 24. Li Keran. Apricot Blossoms and Spring Rain in Jangnan, 1961. Photograph from Han Mo 4 ......................................35 Figure 25. Li Keran. Spring Rain in Shu Mountain, 1966. Photograph from Han.MP 4 ................................................ 36 Figure 26. Li Keran. Yuya Mountain in Quilin, undated. Photograph from Han Mo 26 ....................................................... 38 Figure 27. Li Keran. Details of Yuya Mountain in Qullin. Photograph from Han Mo 26 ................................................. 39 Figure 28. Li Keran. Appreciating a Painting, undated. Photograph from Han Mo 4 ........................................................ 40 Figure 29. Li Keran. Boy Playing a Flute in the Evening, 1978. Photograph from Han Mo 4 ......................................42 Figure 30. Attributed to Mu Xi. Landscape, mid-thirteenth century. Photo from Kungshang Ho, "The History of Chinese Art." ...43 Figure 31. Li Keran. Dusk at Hangzhou, 1956. Photograph from Han Mo 25 .................................................................. 44 Figure 32. Rembrandt van Rijn (1606-1669). Rising of the Cross, 1633. Photo from Gary Schwartz, "Rembrandt: His Life, and His Painting." ......................................................45 Figure 33. Li Keran. Clear Music from the Mountains, 1984.Photograph from Han Mo 25 ................................................. 46 Figure 34. Li Keran. Sketches In East Germany, 1957. Photograph from HanJMo. 26 ...................................................
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