Chen Xiaojiang 陳曉江: Advocating for the Arts 提倡藝術應有的途徑

In recent times, Chinese society has shown a greater interest in art, with Western painting (xiyanghua 西洋畫) enjoying a particularly avid interest.[1] One can see that New Art (xinyishu 新藝術) has somewhat shocked society, its influence wide-reaching.[2] This is the embodiment of art in our times. To be specific: In China, what was considered beautiful in the physical appearance of a person three or four years ago, viewed in a modern-day setting, could not possibly align with the aesthetic norms of today. The difference is the change of the trend, as well as the embodiment of art. Therefore, to express the spirit of the times, it is necessary to struggle in art. And in struggling, we must follow the path of light. Then, and only then, can we achieve a satisfactory effect.

近來中國社會上對於藝術的傾向，在西洋畫方面，比較興盛一點，足見新藝術權威的影響，多少已經震動到社會上面去，使社會上的事事物物，都從時代的藝術鏡里照出來，這就是時代的藝術化，再明瞭地說一句：中國三四年前的美人，從現在潮流的晴光里照出來，一定有不同的地方，這不同的地方就是潮流的變遷，潮流變遷就是時代的藝術化，所以要表示時代精神，非從藝術上去奮鬥不可，要在藝術上奮鬥，須先從光明的大道上走，才有美滿的效果。

When we study Western painting, we should identify the paintings according to the perspective of Western painting, and then follow it. Herein lies the fundamental problem with studying Western painting, and it is only after a steady path has been identified that one can allow oneself to make sincere and foolish attempts in their work; we must not skip this stage in the process. Just like when children learn to walk, they walk, slowly, step by step, rather than run at first. The same logic applies here. But when we look at New Art in China today, it is just like children who cannot walk, but try to run. Most of them have already omitted several steps, without a proper process at all. They paint the surface of their canvases with bright reds and greens, thinking such is the new school. How could this be true? On the surface, their approach may seem bold and lively, but it is in fact very dangerous.

Now let us talk about the study of the fundamentals of painting. There is sketching (sumiao 素描) (with pencil and charcoal).[3] Although this sort of practice should certainly be emphasized early in an artist’s career, it should be continued throughout one’s life, and not simply limited to a year of learning. In Europe, there are often many old grey-haired painters who study how to do pencil and charcoal exercises every day. Paintings such as watercolor (huicaihua 水彩畫) can be regarded as a kind of quick sketch (suxie 速寫) of outdoor travel; this practice is not afforded formal status. However, oil painting has a normal meaning, and is deserving of lifelong study. Therefore, European painters have no end of study in their lifetimes. I’École nationale supérieure des Beaux-Arts, for example, does not have a deadline for graduation, but takes age as a key criterion. If prospective students are over 30, they cannot enrol. Therefore, European artists, totally committed to the aims of their studies, have achieved an unadulterated, grounded expression in their work.

現在來講到繪畫在根底上的研究，那就是素描了（鉛筆本炭），這種練習，果然在初學時要注意，也就是一個研究繪畫的人，終身的練習，並沒有一種年度的學習，歐洲時常有許多鬢髮蒼白的老作家，天天到研究所去做鉛筆和木炭的練習，色彩方面，像水彩畫粉畫，都可作為是一種旅行野外的速寫，並不列入一種正式的地位，油畫是有正常的價值，並有終身研究的必要，所以歐洲的作家，在存在的時候，是沒有研究的結束。像巴黎美術學校，沒有畢業期限，拿年歲來做標準，則滿了30歲，就不能再校研究了，所以他們的作家，完全抱研究的宗旨，在作品上就得到純粹有根底的表現。

We, in China, only have ten years of experience in New Art. In this transitional time, it is important to proceed step by step on the basics, and to never refer to any one school of painting (huapai 畫派). There are indeed many schools of painting in Europe. The success of any one school is due to the systematic changes and the historical context of different periods over many centuries. Additionally, the artist himself does not know what kind of school his work belongs to. His work is simply the product of his studies; later generations decide which school of art he represents. Therefore, the various schools stemming from new doctrines can only serve as a reference for us. Now, when it comes to schools, I shall just say a few words.

我們中國在新繪畫上，僅有十年來的初步，在過渡時代，更應富在基礎上着手，一步一步的進行，萬不要提起什麼派，什麼派，在歐洲果然派別很多，他所成功的派別，是從幾世紀來有統繫上的變遷，有歷史上時代的關係，且作家他自己並不知道是什麼派，是他研究的結果，後人來認定他是什麼派，所以新學說的種種派別只能做我們參結而已，現在提起派別的說話，我就略微簡單的說幾句。

當歐洲現代藝術的發達，法國要算是第一而巴黎尤其中心點，每年的展覽會，大小差不多有數一百次的多，在社會上認定舊派為成立的代表作品，最新派方面的作品，雖在表現很多，但是在社會上鑒賞並不認為成立的一派，所以我們要想到現在中國人研究西洋畫，一定要在根本上去研究，表現自己的個性，開展國家的文化，以供鑒賞者初進的引導，不必在派別上去做無意義的工夫，因為歐洲他們有這樣深的根本，尚且最新派不能成立，何況我們中國在萌芽時代，所以我上面說的不能越過的階級，就是這層意思。

In terms of appreciation, no matter what kind of people they are, nearly all Europeans seem to have some understanding of aesthetics and how art works. Therefore, they have the ability to judge and appreciate art, as well as expressing fair comments.

在鑒賞上面，他們歐洲人對於藝術，無論哪一類人，似乎都有點美感思想，懂得藝術的所以然，於是對於鑒賞上也有了一種能力的判斷，議論上也有了一種公正的發表。

In China, few people study Western painting. Even fewer people can fully understand the true meaning of Western painting. Therefore, when Chinese society come to admire a particular work of Western painting, they just look at the color on the painting; they cannot identity whether the painting is excellent or not based on their own judgment. This can be explained by the Chinese public’s lack of aesthetic education. We cannot simply put this down to naivety on their part.

我國人在研究西洋畫，既然很少，而能了解西洋畫真意的人更少，所以社會上的人們，在鑒賞的時候，無非看看畫上的色彩就是了，不能拿自己的判斷力來分別畫的是非，這一層緣故，就是我國民眾少受美感教育，是不能怪他沒有程度看畫的程度幼稚。

Therefore, in order to enable the public to have the ability to appreciate art and to acquire aesthetic sensibilities, it is entirely necessary to engage in advocacy. There are two simple ways to do this: one is through art exhibits and the other is through disseminating information. The effect of an exhibition is to inspire the public to think. Information can provide the public with a way of distinguishing right from wrong, correcting their weak judgment. If we advocate with misunderstandings and ridiculous literature on art, then the general public will be confused. Meanwhile, those who advocate and comment on painting should have a great sense of responsibility. Additionally, people who take responsibility for advocating need to preserve their personal integrity and uphold sincerity. Therefore, I hope that painters have a pure and grounded education, and that art critics have a responsible and sincere attitude. If this can be done, there is endless hope for the future of our own Chinese New Art.

所以要使得民眾受有鑒賞的能力和美感的思想，完全要在倡導方面去做，做的方法，從最簡單上說，有兩種，一種是展覽會，一種是文字上的宣傳，展覽會的效果，能引起民眾腦筋，當中有畫的一件東西，文字上面能使得鑒賞的人們趨向是非的途徑，糾正他薄弱的判斷力，若然拿以誤傳誤，妄肆是非的文字來倡導，那麼一般民眾就盲從到一條黑暗的路上去了，所以在文字上宣傳發表議論的人，負有極重大的責任，非但在責任上有重大關係，且在人格要保守信仰，在態度上要維持誠懇，所以我希望作家要有純粹根本的研究，議論家要有負責信仰誠懇的態度，那麼我們中國新藝術前途有無窮的希望。