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.
对丰子恺知之甚少,有限的印象就是他是弘一法师的学生、佛教徒,以及充满童真的画作。 也不知为什么在豆瓣里标记了这本书,从图书馆借回一读,很快就有了读下去的兴致。应该说,吸引我的,是传记作者的写作方式,详实的引证,多角度的阐述,富于洞见的观点,透视时代的眼光。...
评分首先关注丰子恺老先生,最早还是翻看他的《认识建筑》,其中关于埃及法老建立金字塔的描述,老先生讲“坟的艺术”,印象尤其深刻。为什么死后要入土为安?老先生给的答案用了一个比喻:虫冬入土而春又复生,“入土”-“复活”的转换,无疑是一种原始而强烈的愿望。 到后来看老...
评分书评 + 摘录 + 音频 = 读书报告 注释:全部观点仅代表个人阅读随感!谢谢! [丰子恺] 书评:这本书主要讲述的是丰子恺老先生如何成为一个中国一百多年来真正雅俗共赏的国民艺术家,把丰老的生平事迹和内心世界相结合,与此同时,作者还大量结合中外资料进行引述论证,给传记本...
评分提到丰子恺,我们的第一印象可能是关于他的诗意风格漫画,还有他的师父李叔同(弘一法师),以及他跟随弘一法师出家等等比较惹人眼球的“事迹”,在图书馆偶遇《逃难的艺术:丰子恺传》,也希望可以借此对丰子恺有一点浅薄的了解。 丰子恺一生也算是历尽坎坷,最终没能等到文革...
评分“逃难”一词,有凄惶奔突之意,然而冠上定语“艺术的逃难”,恍惚有一种藉由艺术于乱世中求宁静的感觉。若将之与“丰子恺”这个名字勾连,我眼前浮起一幅漫画——《无言独上西楼月如钩》。一座雕楼,一弯弦月,一个背影。寥寥几笔即有无尽意绪。这幅漫画展现的丰子恺...
杯水车薪
评分对一个人的研究做到非常细致入微。而且能够很同情之理解地去看待丰子恺作为"the third category"。
评分比较平实详尽。
评分杯水车薪
评分杯水车薪
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