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.
書評 + 摘錄 + 音頻 = 讀書報告 注釋:全部觀點僅代錶個人閱讀隨感!謝謝! [豐子愷] 書評:這本書主要講述的是豐子愷老先生如何成為一個中國一百多年來真正雅俗共賞的國民藝術傢,把豐老的生平事跡和內心世界相結閤,與此同時,作者還大量結閤中外資料進行引述論證,給傳記本...
評分“逃難”一詞,有淒惶奔突之意,然而冠上定語“藝術的逃難”,恍惚有一種藉由藝術於亂世中求寜靜的感覺。若將之與“豐子愷”這個名字勾連,我眼前浮起一幅漫畫——《無言獨上西樓月如鈎》。一座雕樓,一彎弦月,一個背影。寥寥幾筆即有無盡意緒。這幅漫畫展現的豐子愷...
評分首先關注豐子愷老先生,最早還是翻看他的《認識建築》,其中關於埃及法老建立金字塔的描述,老先生講“墳的藝術”,印象尤其深刻。為什麼死後要入土為安?老先生給的答案用瞭一個比喻:蟲鼕入土而春又復生,“入土”-“復活”的轉換,無疑是一種原始而強烈的願望。 到後來看老...
評分書評 + 摘錄 + 音頻 = 讀書報告 注釋:全部觀點僅代錶個人閱讀隨感!謝謝! [豐子愷] 書評:這本書主要講述的是豐子愷老先生如何成為一個中國一百多年來真正雅俗共賞的國民藝術傢,把豐老的生平事跡和內心世界相結閤,與此同時,作者還大量結閤中外資料進行引述論證,給傳記本...
評分An Artistic Exile This book emphasizes the experience of Feng Zikai (1898-1975), a brilliant artist who expressed his ideas in the Republic of China. One review says that the book “moves straight to the heart of debates surrounding modernization, religio...
比較平實詳盡。
评分對一個人的研究做到非常細緻入微。而且能夠很同情之理解地去看待豐子愷作為"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.
评分比較平實詳盡。
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.
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