Title: "Xu Beihong: Chinese-ink painting as a nationalistic propaganda of enforcing China for political and ideological changes" Xu Beihong (徐悲鴻) was active with his creativity throughout the Republican Period. Before his 30-year-old age, Xu Beihong endeavored with a combinative research on modern art theories and Sino-Western comparative aesthetics. The term “nationalistic propaganda” from my research topic highlighted the fact that, Xu Beihong bore a sense of responsibility to checkmate the prosperity and decline of our racial art tradition. Despite the non-secular persistence of literati painters, Xu made a breakthrough to transform the function of Chinese-ink painting as a promotional asset of spreading the benevolent, righteous and virtuous mode of self-managerial thoughts, so called “zhi xue” in Chinese. The ultimate goal of research is to interpret Xu Beihong’s nationalistic aspirations based on a series of his narrative themes related to the human-based spirits of Chinese compatriots. And, for sure, the reason for Xu Beihong to develop such uniqueness is that, he is so eager to bring about ideological and philosophical changes for the intellectual field. It is necessary for us to associate Xu Beihong’s reformative spirits with the enlightenment trends of May Fourth Movement in a historical approach. Xu Beihong’s aesthetic investigation accommodated the emerging trend of Lingnan Art Fraction, as the Chinese-ink painting did experience a change of functionality. To Xu Beihong’s socialist-based opinions, Chinese-ink paintings were no longer the extravagant court items owned by monarchical rulers. He hoped that this creativity returned to a peculiar essence in which people from different social hierarchies were qualified to perceive the art contexts and raise particular kinds of individual thoughts on universal phenomenon. For the second point of emphasis, Xu Beihong acknowledged the open-mindedness of Western education thoughts, thus he greatly encouraged the current art masters to tolerate a re-modification of painting methodologies. Painters could spend their adolescence on a consolidation of craftsmanship and description techniques, then their Masters should guide them to seek alternative ways for a development of unique art styles. For the third point of emphasis, it is advised to explore the implications from the messages delivered by Xu Beihong’s art, as we all know that, he was good at boosting up the morale of Chinese art lovers to participate, cherish and support the anti-Japanese defense. Through some iconographical and narrative contents as metaphors, Xu Beihong silently highlighted his critical reflection on the corruption and disunity of Kuomingtang governance.

1. LEE Kwun Leung Vincent (09429670)LEE Kwun Leung Vincent (09429670)
Master of Social Science in China Studies (History)Master of Social Science in China Studies (History)
Xu Beihong: Chinese-Xu Beihong: Chinese-
ink painting as aink painting as a
nationalistic propagandanationalistic propaganda
of enforcing China forof enforcing China for
political and ideologicalpolitical and ideological
changeschanges

2. Ultimate purpose of researchUltimate purpose of research
 Early 20Early 20thth
Century –Century – Change of functionChange of function: Chinese-ink paintings: Chinese-ink paintings
were no longer the extravagant court items owned bywere no longer the extravagant court items owned by
monarchical rulers, but amonarchical rulers, but a popular mediumpopular medium for intellectuals tofor intellectuals to
spread patriotic affectionspread patriotic affection
 How Xu Beihong initiated a re-modification on paintingHow Xu Beihong initiated a re-modification on painting
methodologies – stressed stylistic and thematicmethodologies – stressed stylistic and thematic breakthroughsbreakthroughs
with traditional techniques as solid basiswith traditional techniques as solid basis
 Messages delivered by Xu Beihong – Boosted up the morale forMessages delivered by Xu Beihong – Boosted up the morale for
Chinese participation in anti-Japanese defence, together with aChinese participation in anti-Japanese defence, together with a
critical reflection on the corruption and disunity of Kuomingtangcritical reflection on the corruption and disunity of Kuomingtang
governancegovernance

3. Reform on Chinese aestheticsReform on Chinese aesthetics
 Racial features apart fromRacial features apart from
literati temperamentsliterati temperaments
 Strengthened the “plastic”Strengthened the “plastic”
expression and diminished theexpression and diminished the
complicated brushstrokecomplicated brushstroke
detailsdetails
 Stressed the ideaStressed the idea
““observationobservation” apart from the” apart from the
consistency between handsconsistency between hands
and feelings from heartand feelings from heart

4. Penetrated into, instead of retreatingPenetrated into, instead of retreating
from, national and secular affairsfrom, national and secular affairs
 Denied the fine-artDenied the fine-art
academia in Shanghai foracademia in Shanghai for
their blind pursuit on thetheir blind pursuit on the
Western trend of ModernWestern trend of Modern
ArtArt
 Tight connection with QiTight connection with Qi
Baishi (Baishi ( 齊白石齊白石 ) to) to
investigate on theinvestigate on the
methodological reformsmethodological reforms
of Chinese-ink paintingsof Chinese-ink paintings

5. Xu Beihong’s acknowledgement on MayXu Beihong’s acknowledgement on May
Fourth MovementFourth Movement
 XXu Beihong regarded the four “Wangs” (u Beihong regarded the four “Wangs” (Wang Shimin,Wang Shimin,
Wang Jian, Wang Hui & Wang YuanqiWang Jian, Wang Hui & Wang Yuanqi 王時敏、王鑒、王翬、王原祈王時敏、王鑒、王翬、王原祈 ))
as “eight-legged” and feudalistic: narrowed themes, rigidas “eight-legged” and feudalistic: narrowed themes, rigid
expressions, lack of stylistic vitalityexpressions, lack of stylistic vitality
– Felt depressed with literati painters’ over-persistence onFelt depressed with literati painters’ over-persistence on
imitating the styles of ancient mastersimitating the styles of ancient masters
 Avocation: To absorb the advanced experiences ofAvocation: To absorb the advanced experiences of
Western art as a mean of restraining theWestern art as a mean of restraining the inferiorinferior
encroachment of formalistic art from the Westencroachment of formalistic art from the West

6. Xu Beihong’s acknowledgement on MayXu Beihong’s acknowledgement on May
Fourth MovementFourth Movement (continued)(continued)
 Changed the philosophy ofChanged the philosophy of
apprenticeship: Masters should layapprenticeship: Masters should lay
their apprentices with solidtheir apprentices with solid
technical foundations, guide themtechnical foundations, guide them
to develop their own creativity andto develop their own creativity and
tolerate their stylistic innovations.tolerate their stylistic innovations.
 Sought an aesthetic coexistenceSought an aesthetic coexistence
between Chinese and Westernbetween Chinese and Western
styles, whereas the moisturizedstyles, whereas the moisturized
infiltration and harmoniousinfiltration and harmonious
luminance of Chinese ink had to beluminance of Chinese ink had to be
inherited continuously.inherited continuously.
Xu Beihong created a portraitureXu Beihong created a portraiture
for Ranbindranath Tagore, anfor Ranbindranath Tagore, an
Indian poet-writer, with ChineseIndian poet-writer, with Chinese
ink and xuanzhi paper as mediumsink and xuanzhi paper as mediums

7. Xu Beihong’s acknowledgement onXu Beihong’s acknowledgement on
CommunismCommunism
 Eager to liberate painters from being controlledEager to liberate painters from being controlled
by art dealersby art dealers
– Felt disappointed with Picasso’s stylisticFelt disappointed with Picasso’s stylistic
transformations for the sake of appeasingtransformations for the sake of appeasing
bourgeoisies and bureaucrats’ curiositybourgeoisies and bureaucrats’ curiosity
– Regarded Matisse as not respecting the legitimateRegarded Matisse as not respecting the legitimate
painting methodologies: too playfulpainting methodologies: too playful
– Art should serve the aesthetic pleasure of commonArt should serve the aesthetic pleasure of common
people, with a vivid description of social livelihoodspeople, with a vivid description of social livelihoods
and an aspiration of modifying the globaland an aspiration of modifying the global
phenomenon.phenomenon.

8. Painting (1): “Painting (1): “The Five Hundred Muscular Men fromThe Five Hundred Muscular Men from
Tian HengTian Heng” (” ( 田橫五百壯士田橫五百壯士 ))
 Adopted the anti-QinAdopted the anti-Qin
revolters from Tianrevolters from Tian
Heng under theHeng under the
leadership Emperorleadership Emperor
Han Gaozu (Han Gaozu ( 漢高祖漢高祖 ))
as a metaphor toas a metaphor to
encourage Chineseencourage Chinese
intellectuals not tointellectuals not to
incline to imperialism,incline to imperialism,
as the Kuomintangas the Kuomintang
officials used to serveofficials used to serve
their own politicaltheir own political
interests at the expenseinterests at the expense
of national securityof national security
 An emphasis onAn emphasis on moral integritymoral integrity
as a preservation of racial dignityas a preservation of racial dignity

9. Painting (2): “Painting (2): “Rescue from an Intelligent LeaderRescue from an Intelligent Leader” (” ( 徯我徯我
后后 ))
 MetaphorMetaphor::
Impoverished villagersImpoverished villagers
who longed for Shangwho longed for Shang
Tang (Tang ( 商湯商湯 )’s arrival to)’s arrival to
help them turn down thehelp them turn down the
brutal governance ofbrutal governance of
Emperor Xia Jie (Emperor Xia Jie ( 夏桀夏桀 ))
 ImplicationImplication: Chinese: Chinese
people longed for apeople longed for a
capable leadership fromcapable leadership from
KuomintangKuomintang
Government to relieveGovernment to relieve
their burden andtheir burden and
counteract with Japanesecounteract with Japanese
influence in Manchuriainfluence in Manchuria
after the outbreak of 9-after the outbreak of 9-
18 Incident18 Incident
 Chinese hoped for a thorough liberationChinese hoped for a thorough liberation
from the torture of foreign humiliationfrom the torture of foreign humiliation

10. Painting (3): “Painting (3): “Where there’s a will, there’s the wayWhere there’s a will, there’s the way” (” ( 愚愚
公移山公移山 )) (created in 1940 during a journey in India)(created in 1940 during a journey in India)
 ImplicationImplication: Boosted up the morale of: Boosted up the morale of
Chinese people to endeavour with theirChinese people to endeavour with their
defence against Japanese invasiondefence against Japanese invasion  BelievedBelieved
that a staunch persistence on nationalisticthat a staunch persistence on nationalistic
spirit would result in the ultimate success of aspirit would result in the ultimate success of a
racerace
 ChineseChinese
should beshould be
hopeful andhopeful and
optimisticoptimistic
with theirwith their
strengthstrength

11. Painting (4): “Painting (4): “The Adverse WindThe Adverse Wind” (” ( 逆風逆風 )) (created in(created in
1936)1936)
 ImplicationImplication: With regards to: With regards to
sparrows’ courage insparrows’ courage in
encountering the obstacles ofencountering the obstacles of
vibrant wind force, we, asvibrant wind force, we, as
Chinese citizens, should persistChinese citizens, should persist
with our high morale inwith our high morale in
defending our territories fromdefending our territories from
Japanese invasion. Even thoughJapanese invasion. Even though
their military threat was gigantic,their military threat was gigantic,
we should not underestimate ourwe should not underestimate our
ability to reverse the decliningability to reverse the declining
situation of our race.situation of our race.
 To make breakthrough regardless of a contrastTo make breakthrough regardless of a contrast
between strengths and weaknessesbetween strengths and weaknesses

12. Painting (5): “Painting (5): “The Spring Rainfall in Lijiang RiverThe Spring Rainfall in Lijiang River””
(( 漓江春雨漓江春雨 ))
 ImplicationImplication: During the toughed days: During the toughed days
of Second Sino-Japanese War, Xuof Second Sino-Japanese War, Xu
Beihong witnessed that the reactionaryBeihong witnessed that the reactionary
forces within Kuomintang permittedforces within Kuomintang permitted
foreigners to legitimize their territorialforeigners to legitimize their territorial
humiliations in coastal areas. Xuhumiliations in coastal areas. Xu
Beihong left Nanjing with anger andBeihong left Nanjing with anger and
reached Guilin. As Xu retreated fromreached Guilin. As Xu retreated from
the social turbulence, he turned tothe social turbulence, he turned to
appreciate the simplicity and harmonyappreciate the simplicity and harmony
of rural life and further felt emotionlessof rural life and further felt emotionless
with the unjust political pursuits ofwith the unjust political pursuits of
current rulers.current rulers.
 Felt helpless with the insane of Kuomintang’sFelt helpless with the insane of Kuomintang’s
corrupted governancecorrupted governance

13. Xu Beihong’s contributions: AnXu Beihong’s contributions: An
avant-garde to promoteavant-garde to promote
ideological enlightenmentsideological enlightenments
through a stylistic reformationthrough a stylistic reformation
on Chinese arton Chinese art
 Established “Neo-Established “Neo-Oriental Drawing” byOriental Drawing” by
merging the Chinese delineative painting withmerging the Chinese delineative painting with
the scientific elements of formalismthe scientific elements of formalism
 Intentional contouring as a respect to objectiveIntentional contouring as a respect to objective
substancessubstances
 Paid a heartfelt concern on compatriots’Paid a heartfelt concern on compatriots’
sufferings – The spirit of compassion throughsufferings – The spirit of compassion through
aesthetic descriptionaesthetic description
 Employed “models” to portray narrativeEmployed “models” to portray narrative
characters with accurate anatomical proportionscharacters with accurate anatomical proportions
 Equilibrium between spiritual likeliness andEquilibrium between spiritual likeliness and
compositional realitycompositional reality
Pakistan in Jishui, Scholastic TemperamentsPakistan in Jishui, Scholastic Temperaments
(( 巴人汲水．懷學素養巴人汲水．懷學素養 ))

14. The righteous behaviour of XuThe righteous behaviour of Xu
Beihong – upheld virtues regardlessBeihong – upheld virtues regardless
of political threatof political threat
 Xu returned to Beijing ProfessionalXu returned to Beijing Professional
Academy of Fine Arts in 1941. He defendedAcademy of Fine Arts in 1941. He defended
his students against the slanders and tortureshis students against the slanders and tortures
of reactionary officials from Kuomintang.of reactionary officials from Kuomintang.
He collected the criminal evidences of theseHe collected the criminal evidences of these
officals and submitted his findings to Aiofficals and submitted his findings to Ai
Qing (Qing ( 艾青艾青 ), a Kuomintang commander), a Kuomintang commander
who took over the control of the Academy.who took over the control of the Academy.
 Xu united with Beiping Artists’ Association,Xu united with Beiping Artists’ Association,
Chinese Academy of Fine Arts and BeijingChinese Academy of Fine Arts and Beijing
Professional Academy of Fine Arts toProfessional Academy of Fine Arts to
organize the “Joint Art Exhibition” as a wayorganize the “Joint Art Exhibition” as a way
of presenting Chinese public with a renewedof presenting Chinese public with a renewed
image of Chinese painting methodology.image of Chinese painting methodology. The Ninth Ode of Quyuan –The Ninth Ode of Quyuan –
National Grief (National Grief ( 屈原九歌．國殤屈原九歌．國殤 ))

15. Gains from this research topicGains from this research topic
 ““CreativityCreativity” instead of “imitation” and” instead of “imitation” and
“cultivation” (a Western art concept)“cultivation” (a Western art concept)
 Painting as a wholesome propaganda –Painting as a wholesome propaganda –
influenced people to pursue universalinfluenced people to pursue universal
obligations, not just limited to spiritualobligations, not just limited to spiritual
enhancementsenhancements
 Painting as a reaction to the culturalPainting as a reaction to the cultural
mission of highlighting the elegantmission of highlighting the elegant
features of Chinese Civilizationfeatures of Chinese Civilization
 To efficiently analyze the patrioticTo efficiently analyze the patriotic
messages from different iconographiesmessages from different iconographies
of Xu Beihong’s paintings – tightof Xu Beihong’s paintings – tight
correlation of his reformed art stylescorrelation of his reformed art styles
with the anti-Japanese intellectual trendwith the anti-Japanese intellectual trend
of Kuomintang eraof Kuomintang era
The Ninth Ode of Quyuan – TheThe Ninth Ode of Quyuan – The
Mountainous Monster (Mountainous Monster ( 屈原九歌．山鬼屈原九歌．山鬼 ))

16. Gains from this research topicGains from this research topic
(continued)(continued)
 To raise the significance of “To raise the significance of “holisticholistic
artist personalityartist personality” in this new social” in this new social
epoch – stressed both conscientiousepoch – stressed both conscientious
awareness and social participationsawareness and social participations
instead of over-emphasizing on theinstead of over-emphasizing on the
spiritual delights from their personalspiritual delights from their personal
art realmsart realms
 To explore the virtues from Xu’s newTo explore the virtues from Xu’s new
ideals in art education – Chineseideals in art education – Chinese
humanism (Xu was honored as thehumanism (Xu was honored as the
Man of Chinese Art Renaissance)Man of Chinese Art Renaissance)
The Ninth Ode of Quyuan – TheThe Ninth Ode of Quyuan – The
Mountainous Monster (Mountainous Monster ( 屈原九歌．山鬼屈原九歌．山鬼 ))

17. Reference MaterialsReference Materials
 王震，《徐悲鴻評集》，王震，《徐悲鴻評集》， 19861986
年年 1212 月第月第 11 版，漓江出版社版，漓江出版社
，廣西桂林市鐵西小區，廣西桂林市鐵西小區
 沈培新，《徐悲鴻．作品解沈培新，《徐悲鴻．作品解
讀》，讀》， 20062006 年年 55 月初版，安月初版，安
徽人民出版社，安徽徽人民出版社，安徽
 陳傳席，《今日美術館書庫．陳傳席，《今日美術館書庫．
中國名畫家全集 — 徐悲鴻》中國名畫家全集 — 徐悲鴻》
，， 20032003 年年 1010 月第月第 11 版，河北版，河北
教育出版社，河北教育出版社，河北