Geremie R. Barmé is a Professor at the Research School of Pacific and Asian Studies, Institute of Advanced Studies, at the Australian National University. He is the editor of East Asian History and is author of In the Red (1999), Shades of Mao: The Posthumous Cult of the Great Leader (1996), and coeditor of New Ghosts, Old Dreams: Chinese Rebel Voices (1992). He was also an associate director and writer for the film The Gate of Heavenly Peace (Boston 1995), and is codirecting with Carma Hinton and Richard Gordon Morning Sun, a documentary film on the Chinese Cultural Revolution.
This engrossing book, a brilliant blend of biography and criticism, tells the story of Feng Zikai (1898-1975), one of the most gifted and important artists to emerge from the politically tumultuous decades of the 1920s and 1930s. Barmé provides a closely woven parallel history, that of the life of writer-artist Feng, who was also an essayist and a translator, and that of China's turbulent twentieth century. He investigates Feng Zikai's aesthetic vision, its development, and how it relates to traditional and contemporary Chinese cultural values and debates.
Although Feng was known for his so-called casual drawings, he was reluctant to classify his art. According to Barmé, much of his writing and painting was rooted in a philosophy of self-expression. Difficult to position in relation to existing Chinese political and social nomenclature, Feng remains, to a large extent, an enigma. He was sympathetic to the average person and the impoverished peasant, yet he was a romantic, and often identified with the increasingly politicized intelligentsia. A devout Buddhist, he was a close observer of nature and children, and while his art appeared gentle, it often carried a strong message.
Much has been written about Feng Zikai, a figure who has become popular among elite and mass audiences in the Chinese world once more, but no other work has examined his place among May Fourth writers and intellectuals nor his position within the context of China's artistic, religious, and literary tradition. An Artistic Exile moves straight to the heart of debates surrounding modernization, religion, science, the essence of a tradition in an age of colonial modernity, and the ethos of political and social thought in twentieth-century China.
家住夕阳江上村,一湾流水绕柴门。种来松树高于屋,借与春禽养子孙。这首诗来自叶唐夫,它曾被丰子恺引用在《护生画集》上。这首诗表达的意境,想必和丰子恺幼时的家乡石门镇有些相似。特别是那句一弯流水绕柴门,画面感特别的强烈。 以往我对丰子恺的了解,多数来自书本上,...
评分刚刚读完,厚厚的一本,扎实的资料,活生生的一群人,有点茫然不知所言。。。。。。 民国时代的大师们,一窝蜂的来,蓦然消逝,现在要回过头去看那个时代大师们的情怀和种种过往,似乎有些难度。而这只不过是近在咫尺的历史。不过,我们现在有多少人对浩浩古国积存下来的优良财...
评分读书,一不留神就读出了人生。从前读过的丰子恺的种种,终究是浅薄了。在《艺术的逃难:丰子恺传》之前,只是心安理得地享受丰老先生贡献的甘美,浑然不知那些曼妙清幽的因果根底。若非澳大利亚学者白杰明的扎实研究,丰子恺一生的欢欣与无奈也就这么隐在了他的作品之后...
评分“公开批判之后,各界名流为了表达对”胡风反革命集团“的强烈愤慨,纷纷发表署名文章,对胡风进行更加深入的批判: 《肃清阴险的反革命分子》——作者:丰子恺(画家,书法家,翻译家)” 选自《文革前后》http://weibo.com/p/1001603945597919989569
评分书评 + 摘录 + 音频 = 读书报告 注释:全部观点仅代表个人阅读随感!谢谢! [丰子恺] 书评:这本书主要讲述的是丰子恺老先生如何成为一个中国一百多年来真正雅俗共赏的国民艺术家,把丰老的生平事迹和内心世界相结合,与此同时,作者还大量结合中外资料进行引述论证,给传记本...
对一个人的研究做到非常细致入微。而且能够很同情之理解地去看待丰子恺作为"the third category"。
评分Meticulously researched and engagingly written, Barme's work is a model of empathetic biography that allows us to "feel" the subject. An important example and symbol of non-political artistic and literary engagement with the changing historical landscape, Feng Zikai deserved this study.
评分比较平实详尽。
评分比较平实详尽。
评分比较平实详尽。
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