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IN Shanghai, at the riverside near Zhaojiabang, south of Xujiahui, many years of dredging had piled tonnes of river mud in a bend on the river. Eventually, this formed a small hill which people called Tushanwan (“wan” means “bay”, “Tushanwan” means “a bay formed by local soil”). In 1864, the Catholic Church levelled part of the hill and on the site built a massive and well-equipped orphanage named the Tushanwan Orphanage. That was 140 years ago.
Now, the name of Tushanwan has long since vanished and is forgotten. The main building and all other construction extensions, after more than half a century of urban development, have been entirely replaced by sweeping highways and skyscrapers. The only building remaining, which has witnessed so many changes and all vicissitudes in life through all these years, is a three-storey red brick house. It was built by the elderly Mr. 马相伯 Ma Xiangbo and was the main school building in the Orphanage, now located on Pu Hui Tong Road. Tushanwan has certainly been a window for West meeting East, because a great number of innovations, new handicrafts and modern techniques originated here in this part of China. Tushanwan has been the cradle for many early Western-style painters, sculptors and photographers. Among them, 张充仁 Zhang Chongren was by all means one of the most prominent artists yet his childhood growing up in Tushanwan is known to few.
This great artist, Zhang Chongren, was born in China in the early twentieth century. He became one of the founders of modern Chinese sculpture, as famous as 刘开渠 Liu Kaiqu. People used to address both artists as Zhang from the South and Liu from the North. Not only one of the most famous sculptors, he was also a very talented painter, art historian and educationalist who showed great love for his motherland. He made tremendous contributions and was considered a master in various fields such as sketching, watercolour paintings, oil paintings, Chinese paintings, strip cartoons, photography, sculptures, translation and education. He not only introduced Western arts into China, he also tried to bring the essence of Chinese culture to the West. He was the envoy for East meeting West and was the first Chinese sculptor to break through into Europe. As early as the 1930s, the statue cast by Master Zhang was erected on the top of the Century Palace in Brussels. He worked together with George Rémi Hergé, the famous Belgian artist and creator of Tintin in the comic strip story “Tintin in the Far East: The Blue Lotus”, which was the first artistic work to expose the evil ambitions of Imperial Japan invading China in the prelude to the outbreak of the Second World War. Hergé also incorporated the figure of Zhang in another Tintin comic strip entitled: “Tintin in Tibet”. Among the 24 Tintin comic strips, Master Zhang is the only real-life figure to be featured. Tintin’s Adventures have been translated into more than 60 languages, with more than one hundred and sixty million copies. In the West, Master Zhang was known to over one hundred million people. Without doubt he has been very influential. It is quite unusual or perhaps unique for a master in China to achieve such prestige, both as an artist and as a respected scholar: this despite the fact that Zhang Chongren was educated and raised by so-called “imperialists” in Tushanwan, who “cloaked themselves in a religious guise”, as was alleged during the Cultural Revolution. He was accused as a real bourgeois intellectual from the Fine Arts of the West. Even though he had tried very hard to acquire new knowledge, changing his ideology entirely, as he attempted to keep up with the rapidly changing cultural situation, still he was not popular for many years. Nonetheless, in the process, he had created numerous masterpieces which showed how the art of East and West could learn and borrow from one another.
All these marvellous works, whether his sculptures or his paintings, reflected the reality of the contemporary scene. Owing to the interference from the fanatic leftists, these works were simply neglected and overlooked. Worse was to come during the Cultural Revolution, as Zhang was considered to be a counter-revolutionary. Many of his works were either destroyed or smashed. Broken-hearted and deeply saddened, Master Zhang did not completely despair. He insisted on trying not to be manipulated by the people and kept himself independent from the masses. Only by doing so might he be able to pursue his dreams in art. He kept seizing opportunities, using his own hands to record historical events, crafting them into works of immortal art. Finally, at the age of 70, he witnessed the arrival of reform. It was just like a dying tree welcoming the dawn of Spring, but sadly it was much belated. By then he had already retired and his sculptures belonged to the School of Realism, a trend no longer considered mainstream in sculpture. Thus his work, neglected before for so long, remained disregarded to a marginal zone.
In 1981 Master Zhang was invited to give lectures in Brussels. His reunion with the cartoonist Hergé, after almost half a century’s separation, created a great impact across Europe. The King of Belgium gave a banquet in his honour, while the Queen of Belgium paid him a personal visit. Many people in Europe were keen to meet this master who had influenced generations of artists there. During his three months’ stay in Europe, he received as much media coverage as a foreign political leader. In 1985, he was once again invited to France to give lectures. Although he was already in his 80s, because of his consistent dedication to the arts, Zhang accepted the invitation, considering it as his mission to seek out friends in Europe with whom he could share ideas. He wished to fulfil his aesthetic dreams and realized his creative aspirations in his remaining years.
Whilst in Paris, he created sculptures for the artist Hergé, the musician Debussy and even the French president Mitterrand: certainly a uniquely exciting event to have the French President as a model. Undoubtedly, with his artistic achievements and attractive personality, Master Zhang captured Europeans’ hearts. Paris, the Capital of Arts, once more experienced “Zhang Chong-ren fever”. Even in his declining years, the reputable artist, while residing in Europe, did not turn his back on his motherland, as he created sculptures of 邓小平 Deng Xiaoping, 矛盾 Mao Dun, 巴金 Ba Jin, 吴湖帆 Wu Hufan, 聂耳 Nie Er and 简庆福 Jian Qingfu and many more besides. Even at the age of 89, from his sick bed, he created a sculpture named “The return of the flawless Jade to Zhao” to celebrate the Restoration of Chinese Sovereignty over Hong Kong. The Chinese leaders 朱鎔基 Zhu Rongji and 江泽民 Jiang Zemin received him in Paris and accorded him high prestige. In 1998, Zhang Chongren passed away in Paris. To honour this foreign master, France held a state funeral for him.
Zhang Chongren was an artist of the twentieth century. Throughout most of his life, he had frequently experienced great hardships and discomforts. But with his own hands he repeatedly created sculptures bearing witness to those eras. When the twenty-first century arrived, for the first time, the Taiwan National Museum of the History of Art held an exhibition reviewing Zhang Chongren’s artistic creations and published books consisting of his writing about arts. Later on, the City of Shanghai established a Zhang Chongren memorial home and a Zhang Chongren Art Research and Exchange Centre. They published three books relating to Zhang’s art work, entitled: “The artistic life of Zhang Chongren”, “The Study of Zhang Chongren” and “Zhang Chongren, the Artist”. The museum also released a documentary film about his life. Last year, Shanghai held a grand memorial ceremony to celebrate the 100th anniversary of Zhang Chongren’s birth. This year, there have been activities to commemorate his death ten years ago. Zhang Chongren Fever is steadily heating up. However, this belated recognition and reputation has only occurred in Shanghai, Taiwan, Hong Kong and Macau. He has seldom been mentioned in the most famous classic publications of art history. In fact, he is almost unknown to most people. Undoubtedly, Zhang Chongren was the most outstanding Chinese artist of the last century. When thinking of all the unfair treatment he received in China, in contrast with the overwhelming adulation given in the West, I cannot but help to mention another artist 徐保慶 Xu Baoqing (1926–2007). Master Xu, who died last year, was the founder of the Shanghainese-style Huangyang Wood carvings. He was the last student of Tushanawan. For nearly 70 years Xu had been working quietly on his highly regarded crafts. Throughout his life, he had been very poor and lived in an extremely humble room. He received no sponsorship and even had to pay to publish his wood-carving albums. Xu claimed that it was mainly because of his connection with Tushanwan! Thus, in order to draw a real picture of Tushanwan and award the historical place deserved by those successors in Tushanwan, it is certainly most important for us to wipe away the dust of history and reveal more details of the history of Zhang Chongren.
Zhang Chongren was born in 1907 in Xujiahui, a place strongly associated with artistic culture. His father was a wood-carver and had studied sketches, Western painting and wood carving in Tushan Bay when he was young. Chong’s mother was an embroidery worker and worked in the factory run by the Holy Mother Convent in Xujiahui. The couple lived nearby, at the Wudi Toujin, in a small cottage built by the Church in the late nineteenth century for the orphans to move into when they had grown up and were starting their own family. There were five cottages in a row, each containing an attic, with one cottage assigned to each family. Zhang grew up in this environment. As a child, he would watch his father carving and his mother doing embroidery work. Gradually, almost imperceptibly, he was influenced by them and began at a very early age to take an interest in carving and painting. Sadly, Zhong’s mother passed away when he was only 4 years old, so his father sent him to the Tushanwan orphanage. This orphanage was founded by Western missionaries and included a school, painting institute, handicraft room, printing workshop as well as accommodation for the orphans. The children received education, vocational training and opportunities to work. In fact, this was China’s very first institution teaching Western art.
The famous painter 徐悲鸿 Xu Beihong had once written in 1942: “The Catholic Church came to China and Xujiahui was considered as one of their bases. It contributed immensely in the crossover between Eastern and Western culture. Since the school taught Western Painting, it certainly could be regarded as the cradle of Western Painting in China.” It was here that Master Zhang had spent his childhood and received his first Western painting lessons. In 1914, Zhong attended the primary school, the St. Louis School next to Tushanwan. The principal was Brother 田见龙一 Tanaka (1885-1978), himself a Japanese orphan, who had grown up in the Tushanwan Orphanage and become a brilliant student of Brother Liu Dezhai. Brother Tanaka was not only a talented painter, he had a profound knowledge of art. Many well-known modern Chinese artists such as 周湘 Zhou Xiang (teacher of 刘海粟 Liu Haisu and Xu Beihong), 徐泳清 Xu Yong-qing, and 张聿光 Zhang Yuguang were all his students. Despite this, he was never interested in either fame or money; he simply preferred to work quietly in the church and dedicated himself to the educational task. Once Brother Tanaka had discovered Zhang’s artistic talent, during the third grade, he personally taught Zhang knowledge of art every afternoon after school until 1920. Zhang then graduated from primary school and received their top award in art.
In the 1930s, Tanaka was transferred to the painting institute, where he continued to give special assistance to artistically talented pupils. Last year, I visited 徐宝庆 Xu Bao-qing, by then an elderly sculptor over 80-years old. He lost his father when only one year old and his mother when he was 3, at which time he was sent to Tushanwan. Xu Baoqing regarded Tanaka as his Mentor and said: “Although a Japanese by parentage he grew up in Tushanwan and was simply one of us, a native Shanghainese who maintained his Chinese nationality. Even during the Japanese Military Occupation, he refused the repeated requests of the Japanese Regime to work for them. Brother Tanaka’s life-long aim was to help the orphans in every way and to provide them with an education. Despite this, in the 1950s, he was denounced as an imperialist disguised under the cloak of religion and was expelled from China. All of us who came from Tushan, during the Cultural Revolution, were condemned as imperialist agents and traitors...
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Chen Youwang, a Senior Master of Zootechny, was born in Shanghai. He is a member of the ’93 Study Society, currently the director of the Shanghai Yousheng Biochemical Technique Research Institute. He has been the vice chairman of the consultant group on the National aid to the poor by the Bureau of Animal Husbandry. He is a council member of veterinarian sciences for the Chinese Bureau of Animal Husbandry. He was sent to countries like Egypt, Hungary, France and the USA to work on a variety of cooperative projects. He has also won awards for progress in Science and Technology. He has published 12 books related to his profession and more that 40 research papers. After retirement, he has pursued his interests in culture and art. |
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| Issue 6.4 |
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World Mutation or
Epochal Challenge?
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