BLOQUE I: ESTUDIO DEL CASO Y DEL CONTEXTO. DEFINICIÓN DEL PROBLEMA

88 For a full display of Chen Hongshou’s eleven illustrations of

see Wong Wange ft

H A ed.,

‘Chen Hongshou: His Life and Art’ (Shanghai, 1997), Vol. II,

pp. 9-18.

c o n te m p o ra ry p u b lis h in g in d u stry . X u B e ih o n g re g a rd e d h im h ig h ly as o n e o f a fe w m a ste rs in m o d e rn tim e s o f C h in e se p a in tin g , w ith R e n B o n ia n an d W u Y o u ru .89 X u B e ih o n g o n c e m a d e a p a in tin g o n th e th e m e o f th e re c lu s e -p o e t Tao Y u a n m in g in 1948 (F ig . 3 5 ).90 In th e p ic tu re , T ao Y u an m in g is p ic k in g

c h ry s a n th e m u m s . X u B e ih o n g also c o lle c te d a p a in tin g o n th e sa m e th e m e b y C h e n H o n g s h o u , Tao Y u a n m in g z a iju tu ‘T ao Y u a n m in g B rin g in g C h ry s a n th e m u m s H o m e ’, ca 1649) (F ig. 36). X u B e ih o n g se e m s to h a v e b e e n v e ry fo n d o f th is p a in tin g as h e w ro te an in sc rip tio n on it in 1950. In th e 1 9 40s, X u B e ih o n g a lso m a d e tw o C h in e se b e a u ty p a in tin g s b a s e d o n th e p o e m b y th e fa m o u s T a n g p o e t D u F u ( t i l l , 7 1 2 -7 7 0 ) (F ig . 37). T h e

c o m p o s itio n a n d s u b je c t o f th e se tw o b e a u ty p a in tin g s w as a lso e m p lo y e d b y the S h a n g h a i S c h o o l p a in te rs a n d illu stra to rs, su c h as Q ian H u ia n a n d W u Y ouru (F ig. 38). A n illu s tra tio n o f th e sam e title an d d e sig n w a s also p u b lis h e d in N e w

M o d e s to P a in tin g M a n u a ls (Fig. 3 9 ). T h e c o m p o sitio n o f th e se b e a u ty p ain tin g s

is v e ry sim ila r, se e m in g ly d e riv e d fro m a c o n v e n tio n a l m o d e.

In a d d itio n to h is fa th e r an d R e n B o n ia n , W u Y ouru also p la y e d a d e c isiv e ro le in th e m a s s iv e in v o lv e m e n t o f c o m m e rc ia l art an d p o p u la r c u ltu re in X u B e ih o n g ’s w o rk s. X u B e ih o n g first le a rn t to p a in t b y im ita tin g W u Y o u ru ’s illu s tra tio n s daily. W u Y o u ru w a s a w e ll-k n o w n a rtist in la te n in e te e n th -c e n tu ry S h a n g h a i. H e q u ic k ly e s ta b lis h e d h is re p u ta tio n in th e p re ss b y b e in g th e p rin c ip le illu s tra to r o f th e D ia n s h iz h a i h u a b a o ‘D ia n sh i S tu d io P ic to ria l’) a n d h is o w n F e iy in g g e h u a b a o ( T f t # ^ M e e t i n g S h a d o w

89 Xu Beihong, ‘Lun Zhongguohua’ graT'IMI®, ‘On Chinese Painting1, in Xu and Jin,

pp. 357-364 (pp. 360-361). On Chen Hongshou’s portraits and their

relationship with realism and representation, see James Cahill,

(Massachusetts and London, 1982), pp.

106-145.

90 There is a year name in Chinese terms on the lower right of the painting, saying

(dcT7,

corresponding to 1948 of the Common Era.

P a v ilio n P ic to r ia l’).91 T h e D ia n s h i S tu d io P ic to ria l w as o n e o f th e m o st c e le b ra te d p ic to ria ls in la te n in e te e n th -c e n tu ry C h in a, T h e firs t is s u e o f th e

D ia n s h i S tu d io P ic to r ia l a p p e a re d in M a y 1884, as a s u p p le m e n t to th e S h e n b a o ,

a lth o u g h it c o u ld a lso b e p u rc h a s e d se p a ra te ly .92 B o th S h e n b a o a n d D ia n sh i

S tu d io P ic to r ia l w e re fo u n d e d b y th e B ritis h m e rc h a n ts E rn e s t a n d F re d e ric k

M ajo r, w h o c o n tro lle d se v e ra l e n te rp rise s in C h in a in th e s e c o n d h a lf o f th e n in e te e n th c e n tu ry .93 T h e D ia n s h i S tu d io P ic to ria l e n jo y e d a n im m e d ia te su c c e ss w ith th e a id o f th e w id e c irc u la tio n o f S h en b a o , w h ic h w a s la u n c h e d in 1 872 a n d c o u ld b e o b ta in e d , o u tsid e S h a n g h a i, in m o re th a n tw e n ty p la c e s acro ss C h in a .94 T h e D ia n s h i S tu d io P ic to r ia l p ro d u c e d m o re th a n 4 ,5 0 0 illu stra tio n s b e tw e e n 1 8 8 4 a n d 1 8 9 8 .95 It w as issu e d a t in te rv a ls o f te n d a y s a n d e a c h issu e g e n e ra lly fe a tu re d e ig h t lin e d ra w in g s, illu stra tin g ite m s c h o s e n fro m S h e n b a o . T h e illu s tr a to r s ’ m a ste ry o f th e v a n ish in g p e rs p e c tiv e h e lp e d to le n d a fe e lin g o f v e ra c ity to th e q u a s i-jo u rn a lis tic , c u rre n t affairs fe a tu re d ra w in g s o f th e D ia n sh i

S tu d io P ic to r ia l. T ak e as an e x a m p le th e illu stra tio n H e y i h u a y a (1^ i l l t f f i 1, ‘T h e

T re a ty -S ig n in g C e re m o n y a t th e C o n c lu sio n o f th e S in o -F re n c h W a r ’, 1885), w h ic h re p re s e n te d th e m o m e n t w h e n th e C h in e se o ffic ia l L i H o n g z h a n g

1 8 2 3 -1 9 0 1 ) sig n e d th e S in o -F re n c h tre a ty in J u ly 1885 (F ig. 4 0 ). T h e e m p lo y m e n t o f th e v a n is h in g p e rs p e c tiv e re a listic a lly re p re s e n ts a

th re e -d im e n s io n a l in te rio r, a n d th e in te rio r is re n d e re d in re m a rk a b le d etail, as if

91 A brief account of Wu Youru’s life, see Yang Yi

‘Painting

and Calligraphy in Shanghai’ (Shanghai, 1989), p. 78.

92 Wang Er-min 31fiNi5l, ‘Dianshizhai huabao suo zhanxian zhi jindai lishi mailuo’

P i t H I

‘The Modern Historic Context Represented in the

in Huang Kewu 7

7

ed.,

lu

^f71 [H;|ilfBT:^Ml I'd -ft# ! [Ml, ‘When Images Speak: Visual

Representations and Cultural Mapping in Modern China’ (Taipei, 2003), pp. 1-25 (pp. 4-5).

93 Ye Xiaoqing,

Dianshizhai Pictorial;

(Michigan, 2003), p.

4.

94 Ye,

Dianshizhai Pictorial, pp. 10-11.

95 Wang, ‘Dianshizhai huabao suo zhanxian zhi jindai lishi mailuo’, p. 1. Wang Er-min in this

article also argued that the

ceased publication in 1900.

th e illu s tra to r h a d p e rs o n a lly w itn e sse d th is sig n ific a n t ev en t. T h e illu stra to rs o f th e D ia n s h i S tu d io P ic to r ia l w ere n o t th e first in C h in a to e m p lo y th e W e ste rn u se o f p e rs p e c tiv e ; n e v e rth e le ss th e ir p re d e c e sso rs h ad n o t y e t c o m p le te ly

O f i * »

m a s te re d it as fu lly as th e y d id . W e ste rn p e rs p e c tiv e m a d e g re a t c o n trib u tio n s to th e p o p u la rity o f th e D ia n s h i S tu d io P ic to r ia l in th e h y b rid v is u a l c u ltu re o f la te n in e te e n th -c e n tu ry S h a n g h a i. It n o t o n ly h e lp e d to in tro d u c e W e ste rn k n o w le d g e to a w id e r re a d e rsh ip in C h in a, b u t also m a d e th e D ia n s h i S tu d io

P ic to r ia l o n e o f th e m o st in flu e n tia l p ro m o te rs o f W e ste rn p a in tin g in C h in a .97

» 98

W u Y o u ru w a s th e m o s t in flu e n tia l a rtist o f th e D ia n sh i S tu d io P ic to r ia l. T h e su c c e ss o f th e P ic to r ia l h elp e d W u Y ouru to re a c h th e p in n a c le o f his career, a n d at th e s a m e tim e , W u Y o u ru ’s m a s te ry o f tra d itio n a l C h in e s e fin e -lin e d ra w in g a lso m a d e g re a t c o n trib u tio n s to th e p o p u la rity o f th e P ic to r ia l. W u Y ouru th e n le ft th e D ia n s h i S tu d io P ic to r ia l and fo u n d e d h is o w n F le e tin g

S h a d o w P a v ilio n P ic to ria l. In e a c h is s u e o f th e F le e tin g S h a d o w P a v ilio n

P ic to r ia l, W u Y o u ru p ro v id e d an illu s tra tio n o f a h is to ric a l b e a u ty , a n d th e se

b e a u ty im a g e s w e re la te r p u b lis h e d u n d e r th e title G u jin b a im e i

4 O n e H u n d re d B e a u tie s o f H is to ry 5), c o lle c te d in th e th irte e n -v o lu m e c o rp u s Wu

Youru h u a b a o ‘A T re a su ry o f W u Y o u ru ’s I llu s tr a tio n s ’), first

p u b lis h e d b y th e W e n ru ilo u b o o k s to re (^CJfinfflf) in S h a n g h a i in 1908 (F ig. 4 1 ).99 T h e se b e a u tie s a re e le g a n tly re n d e re d , cle a rly m o d e lle d o n th e p re v io u s p rin te d

96 Ye,

p.25.

97 Julia F. Andrews, ‘Commercial Art and China’s Modernization’, in Julia F. Andrews and Kuiyi

Shen eds,

(New York, 1998), pp. 181-192 (pp. 181-184).

98 For realism and photography in Wu Youru’s art practice, see Cho Shenko. ‘Sheyingshu dui

Zhongguo jindai xieshi huihua yingxiang zhi tantao - Yi Wu Youru xinwenhua weili’

-

fflKlII lif^J, ‘The Influence of Photography on