Ars sacra Pekinensis : die chinesisch-christliche Malerei an der Katholischen Universität (Fu Jen) in Peking / von Fritz Bornemann.
Added Chinese t.p.: Zhongguo gongjiao meishu 中國公教美術.
Legends in Chinese, English, French, Spanish, Italian, and German.
[Acknowledgement note by Celso Costantini] – Chen Yuandu 陳緣督 – Wang Suda 王肅達 – Lu Hongnian 陸鴻年 – Li Mingyuan 李鳴遠 – Xu Jihua 徐濟華 – Wang Chengxiang 王呈祥 – Hui Ruilong 黃瑞龍.

Local access dig.pdf. [Ars Sacra Pekinensis.pdf]

Paintings by John Lu Hongnian, Bai Huiqun Bai Geng), Lü Shiyun, Luke Hua Xiaoxian, Francis Gao Ti'an (Tihan), et al. done for the Dept. of Art, Sacred Heart Church : Guang'anmen: Shengxintang meishubu. This album is a digitized archive of the scrolls in the Ricci Institute collection used in the "Icons of the Celestial Kingdom" exhibition.
Photographed and digitized by Kaz Tsuruta. 25 scroll paintings: photos (with CD-ROM .tif images, printed thumbnails, and enlarged details of the artists seals and signatures. 

1. The Annunciation. Silk, Beijing, 1947, John Lu Hongnian. - 2. BETHLEHEM INN. Silk, Bai Huiqun (Bai Geng). 3. ANGEL ANNOUNCING TO THE SHEPHERDS. Silk, 1948, Luke Hua Xiaoxian. 4. NATIVITY (WITH ANGELS). Silk, Beijing, Guang’an Gate, Sacred Heart Church, Luke Hua Xiaoxian. 5. THE NATIVITY (WITH SHEPHERDS). Silk, Beijing Summer 1948, Lü Biyun. 6. THE VISIT OF THE MAGI. Silk, Guang'an Gate,1948, Sacred Heart Church, Luke Hua Xiaoxian. 7. THE HOLY FAMILY (MANGER). Silk, Bai Huiqun (Bai Geng). 8. THE FLIGHT TO EGYPT. Silk, Beijing, Guang'an Gate, Sacred Heart Church, Lü Biyun. 9. HOLY FAMILY (LESSONS). Silk, Beijing, "Painted in the old capital" Bai Huiqun (Bai Geng). 10. JESUS WITH MARTHA AND MARY. Silk, Bai Huiqun (Bai Geng). 11. MOTHER AND CHILD (BANANA TREE). Silk, John Lü Biyun. 12. MOTHER AND CHILD (FLOWER). Silk, Beijing, Bai Huiqun (Bai Geng). 13. MOTHER AND CHILD (SPINNING). Silk, Beijing, Guang'an Gate, Sacred Heart Church, Bai Huiqun (Bai Geng). 14. MOTHER AND CHILD (RECITING LESSON). Silk, Francis Gao Ti'an (Tihan) 15. MOTHER AND CHILD (WRITING). Silk, Beijing, Guang’an Gate, Sacred Heart Church, Bai Huiqun (Bai Geng). 16. MOTHER AND CHILD (WRITING). Silk, Beijing, Guang'an Gate, Sacred Heart Church, Bai Huiqun (Bai Geng). 17. MOTHER AND CHILD (Imitating a famous Ming painting). Silk, Beijing, “Painted in the old capital”, Bai Huiqun (Bai Geng). 18. MOTHER LEANING ON CHILD (PINE TREE). Silk, Beijing, Guang’an Gate, Sacred Heart Church, Luke Hua Xiaoxian. 19. MOTHER AND CHILD (CLOUDS). Silk, Beijing, 1947, John Lu Hongnian. 20. MOTHER AND CHILD (ANGEL, CLOUDS). Silk, Bai Huiqun (Bai Geng). 21. OUR LADY ON THE CRESCENT MOON. Silk, Luke Hua Xiaoxian. 22. OUR LADY (OPEN HANDS). Silk, Luke Hua Xiaoxian. 23. OUR LADY (CLASPED HANDS). Silk, Beijing, Guang’an Gate, Sacred Heart Church, Luke Hua Xiaoxian. 24. OUR LADY (PARROT). Silk, Beijing, Guang’an Gate, Sacred Heart Church, Luke Hua Xiaoxian. 25. TWO LADIES (ONE IS TAKEN, ONE IS LEFT). Silk, Beijing, Guang’an Gate, 1948, Bai Huiqun (Bai Geng).

"One important dimension of Chinese art in the first half of the 20th century was an emphasis on individualism which emerged in the context of nationalist fervor. At the same time, together with an increased exposure to foreign ideas, there was a sense of identification with the culture of the past. These characteristics came together in a Chinese Christian school of painting which arose in Beijing between the two world wars at the Catholic University of Beijing, but lasted only until 1949. The university was founded by American Benedictine monks from Latrobe, Pennsylvania in 1925. Two years later, the Ministry of Education recognized it under the Chinese name Furen, an expression taken from the Analects of Confucius (Book XII, ch.24) which can be translated "promotion of righteousness."
The University had an art department which stressed Chinese traditional painting. By 1943 a separate section of European art had been added. Several faculty members began to paint Christian subjects in Chinese style. They were encouraged by Archbishop Celso Costantini (1876-1958), first Apostolic Delegate of the Vatican to China. He had been a devotee of the arts for many years. Already in 1923, one year after his assignment to China, he had encouraged the development of a distinctive Chinese Christian art. He had four beliefs: Western style art is a style unsuited to China; Western Christian art used in China gives the impression that Christianity is a Western, not universal religion; the Church throughout its history has adopted and adapted local art forms; Chinese art and culture provide many opportunities for adoption and adaptation. In 1937, the first Chinese Catholic Art Exhibit was held at Furen University.

Luke Chen, a prominent leader of the Furen University painters, in describing this Chinese Christian art form said: "I believe that when I paint the wonders of Christianity according to the ancient rules of Chinese art, the painted object exerts an externally new and unusual effect, so that at the same time I enrich to a marked degree, the old rules of Chinese painting."
This observation of Luke Chen rings true. Similar to the icons of the Russian and Greek Churches, Christian paintings in Chinese style inspire a certain sense of divinity and reverence.

The paintings displayed in this exhibit were all painted on silk in Beijing about the 1930s and 1940s. They were brought to France shortly thereafter. In 1992 they were acquired by the Ricci Institute for Chinese-Western Cultural History of the Center for the Pacific Rim at the University of San Francisco. The paintings were mounted on scrolls in Hong Kong through the kindness of the Instituto Cultural de Macau after an exhibit in Macau from November 1994 to January 1995. The Paintings were then displayed at the Missao de Macau in Lisbon from December 1995 to March 1996. Later in 1996 they were exhibited in San Francisco at the Pacific Heritage Museum.
The paintings presented here have as their main subjects Jesus; Mary, the Mother of Jesus; Joseph the husband of Mary and guardian of Jesus. The themes are inspired from the gospels, the basic Christian documents which treat the life and teachings of Jesus, His death and resurrection. The paintings on exhibit are inspired especially by those parts of the gospels which treat the announcement of the coming of Jesus, Son of God from heaven into the world; His birth; His childhood. Only one painting here portrays Jesus as an adult. Some of the paintings of Mary depict her surrounded by clouds to express her special closeness to Heaven.
In other parts of the world, such as Rome, Sankt Augustin (Germany) and Taipei, original paintings from the Furen school can still be found. These also represent episodes from the life of Christ as narrated in the four gospels, and the range of themes is broader.

The paintings were mounted on scrolls in Hong Kong through the kindness of the Instituto Cultural de Macau after an exhibit in Macau from November 1994 to January 1995. The paintings were then displayed at the Missão de Macau in Lisbon from December 1995 to March 1996. Later in 1996 they were exhibited in San Francisco at the Pacific Heritage Museum and at Grace Cathedral. In 1998 they were exhibited at the USF Thacher Gallery, and in 2008 they were shown at the St. Aloysius College in Sydney, Australia, for World Youth Day." -- from the exhibit program by Fr. Edward Malatesta, S.J.

Tiantang yaoli 天堂要理 / Ma Xiangbo 馬相伯, 1840-1939; Melchior Souen 孫德楨, 1869-1951; Jean-Baptiste Wang 王增義, fl. 1884-1933; Raymond de Jaegher 雷震遠, 1905-1980; Liu Yuejue 劉樂爵 de Sales.

Printed polychrome paper scroll titled Tiantang yaoli 天堂要理 (Essential principles [= catechism] of Heaven). The scroll presents a Catholic narrative of human history since creation, with a "good path" (shandao 善道) leading to Heaven (via Purgatory) and an "evil path" (edao 惡道) leading to Hell. The illustrations on the scroll are in the deliberately non-European style created in the late 1920s by Chinese artists, such as Lucas Chen (Chen Yuandu 陳緣督, 1902-1967), with the encouragement of Celso Costantini (Gang Hengyi 剛恆毅, 1876-1958), papal delegate to China in the era of Pope Benedict XV's apostolic letter Maximum illud. The style came to be associated with Fu Jen University in Peiping (Beijing).

The title is given in the (printed) calligraphy of Christian scholar and educator, Ma Xiangbo 馬相伯 (1840-1939). We believe that the calligraphy is signed "Xiangbo, the old man of 90 [sui]" 九十叜 (= 叟) 相伯, from which we are inclined to conjecture that he wrote the calligraphy in 1929 (1930 if he was using Western reckoning). This date is, however, much too early given what we know of the scroll's production, as will be discussed presently. There are two printed seals, one reading "Xiangbo" 相伯 and the other—we think—"Ma Liang" 馬良, Ma's given name (ming 名).

The bottom of the scroll carries the inscription "With the approval of Bishop Sun of Anguo [Ankwo] diocese, Hebei" 河北安國教區主教孫准 in Chinese and "nihil obstat | J.B. Wang C.M." and "Imprimatur | + M.Souen C.M. | Vic.Ap. de An-Kwo" in Latin, indicating the approval of Melchior Souen (Sun Dezhen 孫德楨), C.M. (1869-1951), Vicar Apostolic of Anguo in 1929-February 7, 1936, and Jean-Baptiste Wang (Wang Zengyi 王增義), C.M. (fl. 1884-1933). J. van den Brandt (Les Lazaristes en Chine, 1697-1935: notes biographiques, recueillies et mises à jour [Peiping: Imprimerie des Lazaristes, 1936], 167 [item 538]) writes that Wang was only transferred from Baoding to Anguo in 1933. He succeeded Souen as Vicar Apostolic on July 1, 1937. The cross preceding Souen's name indicates that sends his blessings, not that he was deceased at the time of printing. The scroll was printed by K & K Printing Co. 三一印刷公司, a Shanghai firm established in 1928.

On the verso of the scroll, toward the bottom, it is written "Catechisme de Jaegher" in red ink.

Jeroom Heyndrickx ("Catechesis on Heaven 天堂要理: A Chinese Catechetical Painting Prepared by Raymond de Jaegher SAM and Br. Liu Yuejue CSJB Introducing the Christian Message to Chinese Farmers," in History of Catechesis in China, 255-65, eds. Staf Vloeberghs et al. [Leuven: Ferdinand Verbiest Institute, 2008]) describes the genesis of the poster, which originated as a painting used in the Hebei countryside in 1934–1935. Fr. Raymond de Jaegher, SAM (Lei Zhenyuan 雷震遠, 1905-1980) and Br. Liu Yuejue 劉樂爵 de Sales (n.d.) asked several local artists to paint the scroll, which was modeled on a catechetical picture printed in France for use among the first nations people of Canada. This picture presented a "good path" and an "evil path," a format that Liu and de Jaegher adopted. Eventually, de Jaegher approached Lucas Chen, who did not end up taking the job, and subsequently Chen's younger brother, Chen Zhao 陳照 (n.d.), who agreed. Liu and de Jaegher were not satisfied, and in the end a non-Christian artist by the name of Fu Zhongwu did the job. Fu's painting was sent to Shanghai, where Liu negotiated its printing in September 1935.

The fact that the painting was handed off for printing already in 1935 would explain why it still lists Souen as Vicar Apostolic even though it was printed in 1937. K & K Printing Co.'s original printing facilities were destroyed during the Japanese attack on Shanghai, which began in August 1937, so we assume the poster was printed in the first half of the year.

Heyndrickx's article does not make clear exactly how the painting that he describes relates to the one that was sent to Shanghai for printing. It is clear, however, that it differs from the print in both content and style. To our eyes, the poster looks closer to the style of the Fu Jen school than does the painting. Among textual differences, we note that the painting does not feature Ma Xiangbo's calligraphy.

Donation by Jean-Paul Wiest.