| 词条 | Draft:Qiu Di |
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Introduction of Qiu Di (Qiu Ti)Her life and educationQiu Di is one of the earliest Chinese women artists who stood out and has become the only women artist that won the first prize of “the Storm Society” competition. As a postimpressionist painter, she used vivid colors and geometric forms to express a sense of calmness and gracefulness in her works. The features of her works were greatly influenced by her family, education and experiences in Japan. Qiu Di was born in City of Xiapu, which is a small city in Fujian Province in China and her parents were all merchants. At the age of 16, she studied painting in Fujian Women Normal College. She immediately cut her hair after the school started to call on the students to “get rid of the old traditions and fight for equality for woman”. During her studies in the college, the high academic performance in painting led her to further in-depth studies in western art in Shanghai. After graduated, she went to Tokyo to study western arts in decorations with her brother. At that period, Japan was deeply influenced by western arts and her experiences in Japan inspired her in future research and creation in art.[1] In fact, her career in art was full of obstacles and frustrations under the dark and turbulent society environment in China during the 20th century. Qiu Di married to her husband, who was also one of the creators of “the Storm Society” and had two children. The outbreak of Second Sino-Japanese War forced her family to go into exile. However, Qiu Di did not give up creating paintings but unfortunately some of them were lost and destroy during the war. There is one left named “Dolls” is now conserved in Shanghai Art Museum. After the war ended in 1945, Qiu Di and her family moved to Shanghai, and moved again to Hangzhou, making her famous landscape painting “The Lake of Pingyueqiu”. In 1948, Qiu Di and her husband worked for the communist party and created propaganda paintings as well as portraits for the leader. They also contributed into activities and conferences of Chinese art in Shanghai. In 1953, Qiu Di moved to Beijing with her husband and worked for the art studio in China Central Academy of Fine Arts, participating in Fashion Design and won prizes for her works. Unfortunately, she died of diseases on March 1958.[2]Qiu Di’s passion in art has been expressed in all her art works left, which made significant contributions to Chinese female arts. Qiu Di (Ti) and the Storm SocietyBackgroundIn the early twentieth century, western-style painting started to enter the mainstream of Chinese art, however, the styles mainly focus on academic realism, impressionism and post-impressionism.[3] In China, the concepts of avant-garde art were first mentioned by Lü Qingzhong in his article “Concise Introduction to New School of Art” from Eastern Mscellany (Dongfang zazhi) but the practice did not appear until 1920s. Starting at late 1920s, a group of artists began to return from studying abroad including Pang Xunqin who later became the husband of Qiu Ti.[4] This group of artists brought avant-garde art into China and became the early participants of the Storm Society. The born of the storm Society (Jue lan she) and Qiu TiIn Chinese, “Jue lan” means “the great wave”. This name represents the ideal of the Storm Society which was to promote the avant-garde art, change the status quo and create a new art world in China.[4] A group of artists who spent years in Japan and Europe studying art urgently want to reform the rotten art world in China at that time. Pang Xunqin, the key figure in the Storm Society, left Shanghai and went to Paris in 1925 for study.[5] In Paris, he met artist Zhang Xuan who study at Shanghai Art Academy and went to Paris after graduation.[5] His classmate Ni Yide and the director of Shanghai Art Academy Liu Haisu published a journal and tried to organize a society to promote modern art in China.[5] This idea echoed with the same-mind artists as Pang Xuanqin, therefore, the Storm Society was formed. There were series of for exhibition held between 1932-1935 and Qiu Ti was the only female artist who was awarded exhibition prize by the Storm Society.[6] After one year since Qiu Ti returned from Japan, the Storm Society was established, and its manifesto and exhibitions greatly encourage Qiu Ti to persist in the way of supporting reformism and modernism in China. However, as a female artist, Qiu Ti was considered a marginalized member of the Stom Society and she was accepted as an official member until he received the award.[7] The participation of the society was not completely depended on Qi Ti’s own choice, instead the acceptance of Qiu Tirequire group approval.[8] The painting won the exhibition prize was Flower in Vase which the flower in this painting was depicted in green and leaves were depicted in red.[9] Qiu Ti's ArtworkDue to the second Sino-Japanese war, most of her works were destroyed and only few remained available for further study. Flower in VaseFlower in Vase was the only work of Qiu that won the price of Juelan. The real painting cannot be found in the current days and only the printed version remained.[10] In the painting, the pattern on the pad under the vase were derived from Chinese ethnic wax printing.[11] However, the colour of the background and the plant were planted plain and less decorative. The background was depicted in dark colour which contrasts with the decorative vase pad and the white table. This painting demonstrates the results of combining western style and Chinese ethnic style. Thus, this painting was considered as an echo of the ideology of the storm society and chosen as Juelan award. According to the translation of Ni Yidai discussion of the reason for the flower in vase won in his essay,[12]“The painting Qiu Ti contributed to the second Storm Society exhibition was titled Flower, a potted plant with red leaves and green flowers, which won the first prize. Croizier claimed that this painting caused controversy among the audience, because of the unnatural colours she used. The flower itself was a plant, the sort of plant whose matured leaves turn red but the new leaves on the top are green. If it caused any controversy, the uproar should be about this rare plant, not Qiu Ti's way of representing it. She was painting the object as it was, not a hint of unnatural colors. The reason she got the prize must have been its delicate composition and the decorativeness.”[13] Still life and Painting of NudesStill life, No. 2 was one of the early paintings of Qiu which reveal impact from the post-impressionism on Qiu. The composition, use of colour and stroke style of Qiu’s still life painting was influenced by French artist Paul Cezanne. According to the research by Wright, Qiu did nude painting as well. Nude painting was not a common and permitted theme for mainstream traditional Chinese art. The nudes were positioned in a landscape and depicted in a simplified form.[14] Wright also suggests the nude paintings of Qiu could be inspired by the Bathers seriesby Cezanne which they both have precise silhouettes and plain painted colour.[15] Contribution in Feminists Movements in ChinaQiu Di (1906-1958) has been experienced and contributed to two main waves in Chinese Feminism. The initial Chinese reception of western feminism was approximately from 1839 to 1949 under the background of the transfer of Chinese academic convention to western knowledge.[16] Under the movements, the society was motivated to establish girl’s school and sent overseas students to study in Japan to enhance China’s self-strengthening and Chinese Women’s modernization.[17] Qiu Di was one of the oversea students that had chances to experience and learn western art in Japan and brought what she learned back to China and blend into her art works. Strong and distinctive self-cognition and features of eastern women were expressed in her art works, bringing the idea of “new modernized Chinese women” into the public at that period.[18] Although compared to other great Chinese female artist, her works were rarely mentioned, her oil paintings and herself are evidently a vanguard in Chinese feminism. Another huge wave was the Maoist feminism in the PRC, when Mao and Chinese leftists transferred socialism, Marxism and Leninism into China.[18] The first governmental organization for women named Fulian (妇联) was established, claiming the complete liberation of women, even though it was later suspected as an unsuccessful movement. As a female artist, Qiu Di participated in the women movements in creating propaganda painting for the Communist party. In her works, she expressed the idea of “liberation of Chinese Woman” and created feminine images of freedom and modernization. References1. ^Peng, Shanzun. “An Intelligent Female artist during the period of the Republic of China - Di Qiu.” Art and Life. no.3 (2005). 31-32. 2. ^Peng, Art and Life. 31-32 3. ^Julia F. Andrews and Kuiyi Shen, The art of modern China (California: California Press, Ltd., 2012), 74-75. 4. ^1 Andrews and Shen, the art of modern china, 74-75 5. ^1 2 Andrews and Shen, the art of modern china, 76 6. ^Andrews and Shen, the art of modern china, 78 7. ^Amanda S. Wright, “Qiu Ti’s contributions to Juelanshe and the intersection of modernist ideology, public receptivity, and personal identity for a woman oil painter in early twentieth-century China” (Phd diss., University of Kansas, 2011), 74-78 8. ^Andrews and Shen, “Qiu Ti’s contributions to Juelanshe,” 70 9. ^Huajing Xiu, "Shanghai - Paris: Chinese Painters in France and China, 1919-1937," (Ph.D. diss., University of Oxford, 2000), 242. 10. ^Yang Du, “Formation and evlution of Qiu Di’s Painting style of Art 丘堤油画艺术风格的形成及演变,” (M.A.diss., University of Jiangsu, 2013), 8. 11. ^Du, “Formation and evlution of Qiu Di’s Painting style of Art,”8. 12. ^Ni Jun’s description of Qiu Ti’s inspirational source seems to be his own unique interpretation. Ni Jun, “Schudy: Her Art and Life,” 91. 13. ^Wright, “Qiu Ti’s contributions to Juelanshe and the intersection of modernist ideology, public receptivity, and personal identity for a woman oil painter in early twentieth-century China,” 56. 14. ^Wright, “Qiu Ti’s contributions to Juelanshe and the intersection of modernist ideology, public receptivity, and personal identity for a woman oil painter in early twentieth-century China,” 80. 15. ^Wright, “Qiu Ti’s contributions to Juelanshe and the intersection of modernist ideology, public receptivity, and personal identity for a woman oil painter in early twentieth-century China,” 81. 16. ^Chen, Ya-chen. The Many Dimensions of Chinese Feminism. New York: Palgrave Macmillan, 2011. 34-37 17. ^Chen, Ya-chen. The Many Dimensions of Chinese Feminism. 41-44 18. ^1 Yang, Guoli. “A Study of the art works of Di Qiu.” Social and Culture: 2. no.2 (2018). 280-280. External links |
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