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豊子愷(1898 -1975)의 서양미술 수용 및 중국 전통미술 재발견과 혁신에 대해
西槇偉 한국미술연구소 2005 美術史論壇 Vol.- No.20
Feng Zikai was not an artist of Western painting, however he played an important role in the reception of western art in the 1920s. Feng learned Western Art from Li Shutong, who first introduced the training method of Western Art to China. In 1921 Feng went to Japan to make a career in Western Art. Although he did not become an oil painter, he wrote many books on Western art in his later life. In this paper, I will survey his reception of Western art. About two years after his stay in Japan (1924), Feng published a critical biography of Millet, while he had yet to find fame as a painter. This document was based on a Japanese translation of Romain Rollan? Millet (1902). Later, Feng became a painter, and his motifs included many used by Millet. It is possible that Millet set an example for the artists of Labor, Children, and Religion for Feng. As the same type of artist, Feng admired Vincent van Gogh and looked upon him as an oriental painter. In 1929, Feng published a biography of van Gogh based on Kuroda Jutaro? book. The image of oriental painter became clear in Feng? book. Moreover, Feng adopted van Goghs motifs, rhythm of pen-touch, compositions, and expressionistic brushwork, drawing upon van Gogh? style, Feng produced still-lifes and portraits. While absorbing the compositions and figure poses of van Gogh, Feng often applied classical Chinese literature themes to his works. Reconstructing European motifs from the view of literature is one of the special characteristics of Feng? art. In addition, Feng tried to find similar motifs in Chinese traditional arts, and bring them to life. In this way, we can see that many drawings of Feng were influenced by van Gogh. Feng was especially attracted to van Gogh? style of brushwork, as well as the method of literati paintings(文人畵). He also made use of van Gogh? oriental style of expressions, and rediscovered Chinese traditional arts in van Gogh? works. Thus, regarding van Gogh as the zenith of Western modern arts, Feng published an article entitled “Chinese Victory in Modern Art.” It appeared on the opening page of the January issue of Dongfangzazhi in 1930. In his article, he argued about the superiority of Chinese art to that of the West, formally and theoretically. Nevertheless this was not his own idea, but rather one Feng had borrowed from Japan. In Japan from the end of Meiji era, the study of eastern art had become popular. With antagonism to the West, Japanese scholars put great emphasis on the superiority of Eastern art to Western art. Feng found the foundation for his thesis in their arguments. In confrontation with the West, both Japan and China stood on common ground-Asian scholars needed values from their own culture that could compete with those of the West. Through the process of the reception of Western art, Japan found some values in the history of Chinese art which were thought to be superior to those of the West. Feng accepted their opinion without credulity. For him China was a cultural center, China needed values that could oppose those from Europe. So through the reception of Western Art, Feng returned to Chinese tradition, but foreign impulses are important even for the reformation of tradition. Influenced by the expression of Literati painting, Feng attempted to simplify it, modernize the motifs, and use the Pingyuan(平遠) point of view which is similar to European perspective.
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