{"id":456,"date":"2021-11-03T00:45:28","date_gmt":"2021-11-03T00:45:28","guid":{"rendered":"https:\/\/cinioentraduko.com\/?p=456"},"modified":"2021-11-03T00:45:28","modified_gmt":"2021-11-03T00:45:28","slug":"li-yishi-i-have-no-questions","status":"publish","type":"post","link":"https:\/\/cinioentraduko.com\/zh\/2021\/11\/03\/li-yishi-i-have-no-questions\/","title":{"rendered":"Li Yishi \u674e\u6bc5\u58eb: I Have No Questions \u6211\u4e0d\u201c\u60d1\u201d"},"content":{"rendered":"

Translated by Tianyue Wang, Tanda Li, Lijing Zhu and Zhengtang Ma<\/p>\r\n

Please see the PDF version of this text here<\/a>\u00a0for footnotes.<\/em><\/p>\r\n\r\n

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I Have No Questions <\/strong><\/div>\r\n<\/td>\r\n
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An old man in his forties should not be perplexed. Having read both articles, I got to know the two Mister Xus.[1]<\/sup><\/a> I had questions when I read their articles in the fifth issue of Mei Zhan<\/em>, so I shall say something without perplexity. I think Mister Xu Beihong\u2019s stance is what a real artist should have. In other words, it is a subjective attitude. However, the way that Mister Xu Zhimo takes this into account is like that of a critic, in which he puts aside subjectivity. Thus, there is a difference between their opinions.<\/p>\r\n<\/td>\r\n

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\u56db\u5341\u591a\u6b72\u7684\u8001\u982d\u5b50\uff0c\u81ea\u7136\u61c9\u8a72\u4e0d\u60d1\u3002\u6211\u8b80\u4e86\u7f8e\u5c55\u7b2c\u4e94\u671f\u4e0a\u5169\u4f4d\u5f90\u5148\u751f\u7684\u5927\u6587\uff0c\u898b\u4ed6\u5011\u96d9\u65b9\u90fd\u60d1\u3002\u81ea\u7136\uff0c\u61c9\u7576\u8aaa\u5169\u53e5\u4e0d\u60d1\u7684\u8a71\uff0c\u65b9\u662f\u9053\u7406\u3002\u6211\u60f3\u60b2\u9d3b\u5148\u751f\u7684\u614b\u5ea6\uff0c\u662f\u771f\u6b63\u85dd\u8853\u5bb6\u7684\u614b\u5ea6\u3002\u63db\u4e00\u53e5\u8a71\u8aaa\uff0c\u662f\u4e3b\u89c0\u7684\u614b\u5ea6\u3002\u5fd7\u6469\u5148\u751f\u7684\u8a00\u8ad6\uff0c\u662f\u8a55\u8ad6\u5bb6\u7684\u53e3\u6c23\u3002\u628a\u4e3b\u89c0\u62cb\u958b\u4e86\u8b1b\u8a71\uff0c\u6240\u4ee5\u4ed6\u5011\u96d9\u65b9\u7684\u8a71\uff0c\u8b1b\u4e0d\u650f\u4f86\u3002<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Although I have studied Western painting (yang hua<\/em> \u6d0b\u756b)[2]<\/sup><\/a>\u00a0for more than two decades, I am unable to fully appreciate the paintings of C\u00e9zanne and Matisse.[3]<\/sup><\/a> If my son wanted to follow their style of painting, I would beat him senseless without hesitation and forbid him to do so. It is my responsibility to give him instructions, so I have to make decisions about my behaviour with a subjective opinion. In this case, I must be subjective and say that, at this point, I strongly agree with Mister Xu Beihong.<\/a><\/p>\r\n<\/td>\r\n

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\u585e\u5c1a\u5974 (C\u00e9zanne)\u3001\u99ac\u5e1d\u65af\uff08Matisse\uff09\u7684\u4f5c\u54c1\uff0c\u6211\u7814\u7a76\u4e86\u5eff\u591a\u5e74\u7684\u6d0b\u756b\uff0c\u5be6\u5728\u9084\u6709\u9ede\u4e0d\u61c2\u3002\u5047\u82e5\u8aaa\uff1a\u6211\u7684\u5152\u5b50\u8981\u5b78\u4ed6\u5011\u7684\u756b\u98a8\u3002\u6211\u7c21\u76f4\u8981\u628a\u4ed6\u91cd\u91cd\u5730\u6253\u4e00\u9813\u7981\u6b62\u4ed6\u5b78\u4ed6\u5011\u3002\u56e0\u70ba\u6211\u5c0d\u6211\u7684\u5152\u5b50\u8ca0\u6709\u6307\u793a\u4ed6\u7684\u8cac\u4efb\u3002\u6211\u4e0d\u5f97\u4e0d\u6191\u6211\u7684\u4e3b\u89c0\u4f86\u6c7a\u5b9a\u6211\u7684\u884c\u70ba\u3002\u6240\u4ee5\u6211\u6191\u6211\u4e3b\u89c0\u8aaa\uff1a\u6211\u662f\u6975\u7aef\u8d0a\u540c\u60b2\u9d3b\u5148\u751f\u7684\u614b\u5ea6\u3002<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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One of the responsibilities of an art critic is to look into where the artists have failed to perform. If you cannot blame the artist for that, then you must admit instead your incapability of appreciation. In the lawsuit between Ruskin and Whistler, Ruskin took a subjective posture by keeping himself from being a critic.[4]<\/sup><\/a> Therefore, Mister Xu Zhimo was sensible not to slander C\u00e9zanne and Matisse.<\/p>\r\n<\/td>\r\n

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\u81f3\u65bc\u85dd\u8853\u8a55\u8ad6\u5bb6\u7684\u8cac\u4efb\uff0c\u662f\u8981\u50b3\u63da\u85dd\u8853\u5bb6\u6240\u8868\u73fe\u4e0d\u5230\u5bb6\u7684\u5730\u65b9\u3002\u6240\u4ee5\u5982\u679c\u9047\u5230\u6709\u6240\u4e0d\u61c2\u7684\u5730\u65b9\uff0c\u53ea\u53ef\u4ee5\u627f\u8a8d\u81ea\u5df1\u8cde\u9452\u529b\u7684\u4e0d\u8db3\uff0c\u4e0d\u597d\u8aaa\u4f5c\u5bb6\u7684\u6771\u897f\u4e0d\u597d\u3002\u7f85\u65af\u91d1\u548c\u9b4f\u65af\u5fb7\u52d2\u7684\u5b98\u53f8\uff0c\u5c31\u662f\u7f85\u65af\u91d1\u5931\u4e86\u4ed6\u8a55\u8ad6\u5bb6\u7684\u614b\u5ea6\uff0c\u628a\u4e3b\u89c0\u62ff\u51fa\u4f86\u4e86\u3002\u6240\u4ee5\u5fd7\u6469\u5148\u751f\u7684\u4e0d\u8ab9\u8b17\u585e\u5c1a\u5974\u3001\u99ac\u5e1d\u65af\uff0c\u4e5f\u662f\u6975\u6b63\u7576\u7684\u614b\u5ea6\u3002<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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Accordingly, there is a difference between the two Mister Xus\u2019 standpoints and attitudes. Thus, is there anything to be perplexed about? Yet, I have no intention of intervening in this debate and mollifying. In critiquing art, they should have broadened their horizons and shed light on major social issues.<\/p>\r\n<\/td>\r\n

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\u7167\u4e0a\u9762\u6240\u8aaa\uff0c\u5169\u4f4d\u5f90\u5148\u751f\u56e0\u70ba\u6240\u8655\u7684\u5730\u4f4d\u4e0d\u540c\uff0c\u614b\u5ea6\u7684\u4e0d\u540c\u3002\u9019\u6709\u4ec0\u9ebc\u53ef\u60d1\u7684\u5730\u65b9\uff1f\u4e0d\u904e\u6211\u4e26\u4e0d\u5728\u9019\u88e1\u89e3\u52f8\u4ed6\u5011\u7684\u722d\u8ad6\u3002\u6211\u60f3\u8acb\u4ed6\u5011\u628a\u773c\u5149\u653e\u958b\u4e00\u4e9b\uff0c\u628a\u793e\u6703\u4e0a\u6240\u8981\u89e3\u6c7a\u7684\u5927\u554f\u984c\uff0c\u8a0e\u8ad6\u4e00\u4e0b\uff0c\u7136\u5f8c\u518d\u4f86\u5224\u65b7\u85dd\u8853\u3002<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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For artists, art is simply personal expression. From the artists\u2019 perspective, their art absolutely has value unless it is made to fool people regardless of the artists\u2019 style. To make a work of art exhibited and appreciated by society, at the very least society should understand the piece of art, never mind expressing their appreciation. If a piece of art is not understood by anyone, then regardless of its value, it is the same as ‘a latrine in the countryside (xiangxiaren maoce<\/em> \u9109\u4e0b\u4eba\u6bdb\u5ec1)’.[5]<\/sup><\/a><\/p>\r\n<\/td>\r\n

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This resembles the five grains (wugu<\/em> \u4e94\u7a40) grown in the fields.[6]<\/sup><\/a> If human beings eat wheat only, other grains will not be supported and only wheat will be cultivated. Does Mister Zhimo consider it appropriate? If Zhimo worked as an agricultural expert who had studied the significance of the five grains, tasting them, he should have showed us how important they are and recommend others to have a try. If Mister Zhimo is not able to do this, leave it as it is. In my viewpoint, I dare say that C\u00e9zanne and Matisse\u2019s art has not been fully understood by the general public. If Mister Zhimo knows the worthiness of the art, would he please explain it and allow us to learn more about it? Shouldn\u2019t we inquire into the presentation of the times and the socio-psychological relationship in art?<\/p>\r\n<\/td>\r\n

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\u9019\u7a2e\u60c5\u5f62\u7336\u5982\u7530\u88e1\u9577\u4e86\u4e94\u7a40\uff0c\u5047\u4f7f\u4eba\u985e\u53ea\u77e5\u9053\u5403\u9ea5\uff0c\u5247\u4ed6\u985e\u7684\u8c37\u81ea\u7136\u8981\u88ab\u6dd8\u6c70\uff0c\u628a\u7530\u5730\u5c08\u4f86\u7a2e\u9ea5\u4e86\u3002\u5fd7\u6469\u5148\u751f\u4ee5\u70ba\u9019\u500b\u8fa6\u6cd5\u662f\u9069\u7576\u7684\u55ce\uff1f\u5047\u4f7f\u5fd7\u6469\u662f\u4e00\u4f4d\u8fb2\u5b78\u5c08\u5bb6\uff0c\u4e94\u7a40\u7684\u597d\u8655\u90fd\u7814\u7a76\u904e\u7684\uff0c\u5473\u9053\u4e5f\u90fd\u5617\u904e\u7684\uff0c\u90a3\u4fbf\u4e0d\u59a8\u628a\u4ed6\u7684\u597d\u8655\u50b3\u63da\u51fa\u4f86\uff0c\u4f7f\u5225\u4eba\u4e5f\u5617\u5617\u3002\u5047\u82e5\u5fd7\u6469\u5148\u751f\u4e0d\u80fd\u505a\u5230\u9019\u4e00\u5c64\uff0c\u90a3\u672b\u66ab\u4e14\u4e0d\u5fc5\u53bb\u7ba1\u4ed6\u5011\u3002\u585e\u5c1a\u5974\u548c\u99ac\u5e1d\u65af\u7684\u4f5c\u54c1\uff0c\u5728\u6211\u7684\u773c\u5149\u4e2d\uff0c\u6562\u8aaa\u5728\u4e00\u822c\u793e\u6703\u4e0a\u4eba\u7684\u773c\u5149\u4e2d\uff0c\u672a\u898b\u5f97\u80fd\u5920\u5341\u4e8c\u5206\u5730\u77ad\u89e3\u3002\u5982\u679c\u4ed6\u5011\u7684\u597d\u8655\u5fd7\u6469\u5148\u751f\u5df2\u7d93\u77e5\u9053\uff0c\u5247\u4e0d\u59a8\u628a\u4ed6\u5011\u4f86\u89e3\u91cb\u4e00\u4e0b\uff0c\u518d\u5bb9\u6211\u5011\u5927\u5bb6\u8acb\u6559\u8acb\u6559\u3002\u4e14\u4e0d\u7ba1\u548c\u6642\u4ee3\u7684\u98a8\u5c1a\u5982\u4f55\uff1f\u8207\u793e\u6703\u7684\u5fc3\u7406\u662f\u4ec0\u9ebc\u95dc\u4fc2\uff1f<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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I have not yet articulated anything in a subjective manner since the start of this paper. Now, it is time to do so. Since the artistic style is associated with the times, we should firstly investigate the artists\u2019 social responsibilities. Mister Xu Zhimo argued, ‘artistic critique shall be independent from moral concepts’. In my view, when considered in the long run from a perspective of social evolvement there is a relationship between art and morality. ‘Morality’ here refers to the moral concepts which the artists are aware of other than the morality defined conventionally. I suppose it is true that an artist could never paint a good image of Madonna without being a devoted Christian. And I also suppose it is true that a vulgar painter, despite their masterful techniques, will never produce a masterpiece worthy to be remembered in hundreds of years. To put it another way, human beings are innately benevolent. Only would those who are possessed by self-interest and desire behave improperly. Without being biased by the interests, the artists are bound to portray what is true, what is natural, and thus what is benevolent. Considering everything mentioned above, I would not fain criticise any of the artists\u2019 works, unless their behaviour could be proven to be somewhat deceiving others for profit and benefits. How can we appraise C\u00e9zanne and Matisse? I may not be correct, and so I could not assert it. Mister Xu Beihong said, ‘those artists came to fame attributing to the art dealers\u2019 manipulations and promotions’. I would absolutely agree if there were conclusive evidence of the facts. Mister Xu Beihong also declared, ‘their paintings are worthless’. Viewed from today\u2019s perspective, even if Mister Beihong\u2019s words are not so truthful and C\u00e9zanne and Matisse\u2019s descriptions showcase their giftedness to the fullest, I would oppose the artists\u2019 popularisation in China to avoid the adverse seeds to emerge. Given that the intellectual world in China has been in chaos over the past twenty years, we are currently attempting to change their mindset and soothe their spirits using the power of art.\u00a0 If the artworks by artists such as C\u00e9zanne and Matisse are predominantly widespread, this might disturb China. Alas, what an adverse impact it might have! All of this is my personal opinion. Yet, it also includes my doubts and questions as well, which I shall discuss with you.<\/p>\r\n<\/td>\r\n

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Without expressing my own opinion, under the circumstances of China\u2019s art scene, how many of us are willing to do the academic research? How many are not willing to take a shortcut for their fame? If the works of C\u00e9zanne and Matisse have value in China, then I know that the archaic art from Greece and Rome will no longer be introduced to China\u2019s realm of art. The hundreds of years of European civilisation shall no longer have a place in China. Under these circumstances, even if Mister Zhimo approves of the works by C\u00e9zanne and Matisse to be exhibited, it has to be taken into careful consideration. Mister Zhimo also said, ‘people are prone to changing their mind and craving for the new’. This resulted in C\u00e9zanne\u2019s vulgarity and Van Gogh\u2019s madness. This is true. Certainly, it is permissible for artists to be inclined to speak of unity and change. In terms of an artwork, it is most definitely permissible; this also could apply to the trends in art. However, the environment of Western art is different from that of Chinese art. We find it interesting to put a touch of red onto a grey surface. However, it is inappropriate to add a hint of red onto the paper which is yet to be painted. I expect Mister Zhimo to inquire into the present status of Chinese art. If we think the European style valuable shall we have the grey background painted? In other words, over hundreds of years, the solid foundations of art in Europe have slowly begun to erode, and the eye-catching new styles, including those of C\u00e9zanne and Matisse, were advised to be introduced in China. This is why I have decided to write something in response to the two Mister Xus. I do not expect anyone to defend me. But I think the general readers of the articles about the ‘questions’ may take on my opinions to figure it out.<\/p>\r\n<\/td>\r\n

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At the time of this article\u2019s writing, Mister Zhimo\u2019s I Also Have Questions<\/em> has not yet been finished. I do not know the other half of his remarks. I would not hesitate to consult him if I find it necessary to make any corrections or extend my comments after reading the next half in the future.<\/p>\r\n<\/td>\r\n

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Yishi\u2019s notes<\/p>\r\n

Evening, 26 April<\/p>\r\n<\/td>\r\n

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\u6bc5\u58eb\u9644\u6ce8 \u56db\uff0c\u4e8c\u5341\u516d\uff0c\u71c8\u4e0b<\/p>\r\n<\/td>\r\n<\/tr>\r\n

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References<\/strong><\/p>\r\n

1. Translator\u2019s note: Liangwei Xu Xiansheng<\/em> \u5169\u4f4d\u5f90\u5148\u751f (Two Mister Xus): In this article, two Mister Xus refer to Xu Beihong and Xu Zhimo. Xu Beihong was the author of Huo<\/em> (which was translated into English as \u201cPerplexity\u201d by David Der-wei Wang). He wrote that \u201cthe exhibition features no works by such shameless painters such as Cezanne and Matisse\u201d and criticized that the Chinese painters \u201cblindly followed the western modernist trends\u201d. The article soon induced a rejoinder, Wo ye \u201chuo\u201d<\/em> (\u6211\u4e5f \u201c\u60d1\u201d, translated into English as \u201cI Too Am Perplexed\u201d by David Der-wei Wang) written by Xu Zhimo. (See: Maxwell K. Hearn, Judith G. Smith, Chinese Art: Modern Expressions<\/em> (New York: Metropolitan Museum of Art, 2001), 29.)<\/p>\r\n

2.\u00a0Translator\u2019s note: Yanghua<\/em>\u6d0b\u756b (Western paintings): Western paintings is a concept relative to traditional Oriental painting. In general, it refers to the paintings which come from western countries such as Europe and America. However, Western paintings can also refer to paintings from other regions where share a European cultural tradition. (See: Virginia, Forte. The History of Western Painting<\/em>, 2016), X.)<\/p>\r\n

3. Translator\u2019s note: Matisse: Henri \u00c9mile Beno\u00eet Matisse\u00a0(31 December 1869 \u2013 3 November 1954), a French artist, known for both his use of colour and his fluid and original draughtsmanship, he was a\u00a0draughtsman<\/a>,\u00a0printmaker<\/a>, and\u00a0sculptor<\/a>, but is known primarily as a painter. (See: Myers, Terry R. Matisse-on-the-Move. <\/em>The Brooklyn Rail. Tate Modern: Matisse Picasso. Tate. org. uk. Retrieved\u00a020, 05, 2019)<\/p>\r\n

4. Translator\u2019s note: The lawsuit between Ruskin and Whistler: In 1877, James McNeill Whistler exhibited at the Grosvernor Gallery work of advanced taste that moved away from the story-telling style that was so characteristic of Victorian paintings. John Ruskin, the great art critic, reviewed the exhibition in his own idiosyncratic publication, Flors Clavigera, praising Burne-Jones, who had been much influenced by his thought, and attacking Whistler. (See: Stansky, Peter. Reviews — A Pot of Paint: Aesthetics on Trial in Whistler v. Ruskin by Linda Merrill. <\/em>The Journal of Interdisciplinary History\u00a024, no. 3, 1994), 536.)<\/p>\r\n

5. Translator\u2019s note: A latrine in the countryside\u9109\u4e0b\u4eba\u6bdb\u5ec1: In China’s rural areas, people typically employed latrines or outhouses over a pit toilet. Most of the latrines are enclosed with thatch. (See: Cao Jushi \u66f9\u83ca\u8a69, \u201cCong xiongzhang sangai cesuo kan nongcun jubian\u201d \u5f9e\u5144\u9577\u4e09\u6539\u5ec1\u6240\u770b\u8fb2\u6751\u5de8\u8b8a [See the great changes in the rural areas from my brother\u2019s reconstruction of the toilet for three times], Zhongguo laonian <\/em>\u4e2d\u570b\u8001\u5e74 4 (2009), 80.)<\/p>\r\n

6. Translator\u2019s note: Five grains \u4e94\u7a40refer to five kinds of grains in ancient China. The definition of the five grains is varied by different authors. According to Zheng Xuan\u2019s definition, five grains are hemp, broomcorn millet, foxtail millet, wheat and beans. (See: Q. Edward Wang, Chopsticks: A Cultural and Culinary History <\/em>(Cambridge: Cambridge University Press, 2015), 27.)<\/p>\r\n

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\"Creative<\/a>
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