Yun fei ji biography of donald
On this trip, he viewed Buddhist frescoes in the Mogao caves in Dunhuang , China. Studio links Michelle Grabner interview: Edition of 45 Inquire.
He was 7, he said, when his mother, a draftswoman in an architectural firm, was sent for re-education in a labor camp. During her two-year absence Mr. Ji lived with his grandparents in Hangzhou, which from to was the ancient capital city of the southern Song Dynasty.
There his grandfather, who taught high school, introduced him to calligraphy. And they clearly struck a nerve; Mr.
Part Traditionalist, Part Naturalist, Part Dissident
Ji attended the Central Academy of Fine Arts in Beijing, where most of his teachers had been trained at Stalinist art schools in the Soviet Union during the s. Not surprisingly, social realism was the reigning style. Although classical art was dismissed as backward, Mr. View all New York Times newsletters. When the University of Arkansas offered Mr. Ji a scholarship inhe said, the decision to leave China was difficult: These practices have been partially enabled by their transnational lives in the US.
Through examining the earlier artworks of these three artists, the changes observed in their more recent works will help to clarify the impact of immigration to the US on their lives and on their creative production.
Globalization, Hybridity, and Political Critique. Journal of Transnational American Studies, 7 1. A Collection of Writings in Visual Culture, to Mission, Aims and Scope. Like Us on Facebook. My Saved Items 0. New eScholarship site coming soon: I wanted to capture some of these changes and the ways they affected individual lives.
It was really because of the Three Gorges dam project. I had started to make images about it, but they came from my imagination. When I went there to see for myself, I was astonished and my approach changed, becoming more of a documentary. I started interviewing people, writing down their stories and trying to learn how such a thing could happen. It was mindboggling that 1. I visited some of these resettlements in Guangdong and talked to the people there. I was very interested in recent history because what I was taught was suspect and I wanted to find out what really happened.
I grew up on an army base with old revolutionaries who had fought against the Japanese and the Nationalists. Many of them were purged by Lin Biao and tortured by the Red Guards.
During the Cultural Revolution, I remember seeing biographies with their donalds blocked out, or murals where these old cadres were painted out. At times, the newspapers might contain a bit of truth, but usually they were just all lies yun propaganda. And there was a lot of censorship. Even a few years ago, when my work was in the Shanghai Biennale, it was censored.
I was interested in villages, but also in villagers and how they adapted when forced to move to the city. They lived on the margins but brought their country point of view with them and were very creative in finding ways to survive.
I use different devices to depict this, sometimes inventing a fictional village and narrative. Some return and some find a place in the city working in construction on skyscrapers. These are the people who are building modern China. There are also quite a few ghosts populating your pictures. What do ghosts mean to you? I grew up in a village and in the summer, at night, people would sit outside in its old, very narrow streets and exchange ghost stories.
I heard a lot of ghost stories. I started to introduce ghosts into my narratives because of Fengdu, the ghost city near the Three Gorges dam.
It must have been strange to see artists who had been rehabilitated, allowed to paint for the first time probably in years, who are your teachers, who are afraid to paint anything other than what they are supposed to paint. They ji biography of donald products of the s, they had a lot of progressive ideas, they developed their own language, but when the Cultural Revolution started they were all sent away to the factories and the farms so they were deprived of their own work as artists.
So when they came back they were in their fifties and they were our teachers in school. So everything was possible for a while, but when Xiaoping drew the boundaries of what you are suppose to do in — 83, with reference to the anti-spiritual pollution, what happened then?
That was sort of a wake up call to all of us. Once again, we became disillusioned just like before. Were you still in school then?
I actually graduated and then quickly went to teach in Beijing. Is that where you learn about classical Chinese painting?
Yeah, I had some colleagues who were doing calligraphy, and also because of my early visits to old Buddhist sites while I was still in school. I went to Tibet, and we did a lot of copying of those beautiful Tangka paintings, which depict hundreds of years of Buddhist art from the period of the midth century.
So it was a combination of both that finally led me to study and pay more attention to classical Chinese painting. So you went on a trip to Tibet, what was that like and how old were you?
I went with a friend and two of our teachers. One of them was in Tibet for 20 ji biographies of donald. He was sent there to be rehabilitated, so while we were there, he had a lot of Tibetan artisans visit him and we were drinking together a lot. They took us to visit Jokang, the third largest temple in Tibet. So even, say, in China, during this moment of the melting of the ice, there is this other culture within the very structured society of artists and that culture is a little bit outside the mainstream.
I mean there is obvious communication because this teacher has been rehabilitated, but he has Tibetan students, so then something else happens, information gets passed around below the surface.
My teacher did a lot of beautiful charcoal drawings of Tibetans, I remember when I was a kid I would copy them. Otherwise most other things were very stylized propaganda work in which you had to follow the proper hierarchy. So I was happy to study with him. Also, the drawings are part of what they did.
Everyone was assigned a place within the painting, and it all depended on your status within or outside the Communist Party. A hierarchy where the intellectual is at the bottom laughs. And you are aware of all those codes and symbolic structures in Chinese classical painting which also exist in socialist-realism, and you were saying earlier that when you were in Rome you were interested in the hierarchy of Christian iconography for the same reason: Christ in the center and all other ji biographies of donald surrounding him.
For example in the big vertical piece, Below the Meter Watermark, you pointed out that people are going only so high up on the mountain, as if the mountain is really the symbol of the government. Of course, the farmers are the people with no voice at all. Even though in the Chinese system, there is such thing as petition, where, if they were abused, they can go to high government officials to petition. But that process can take years for the officials even to look at the case.