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

Fanyu Tangyan : cong Tushanwan huaguan dao Furen huapai de yishu shijian 梵語唐言 : 從土山灣畫館到輔仁畫派的藝術實踐 ( (1583-1941) = L'histoire de la peinture catholique en Chine / Yao Peng, Tao Jianping bianzhou 姚鵬, 陶建平編著.
Includes bibliographical references.

第一章: 兩朝回顧
1．程氏墨苑 -- 2．玄宰筆書 -- 3．出像經解 -- 4．不得已辯 -- 5．墨井道人 -- 6．宮廷畫師

第二章: 山灣堂囝
7．篳路藍縷 -- 《救世主實行全圖》-- 《土山灣學校畫論》 -- 8．畫荻教子 -- 《透視學》-- 《鉛筆習畫帖》-- 9．後進卓犖 -- 《千奇萬妙》-- 《新史像解》

第三章: 畫館中興
10．道原精萃 -- 《萬物真源》 -- 《天主降生引義》-- 《天主降生言行紀略》-- 《宗徒大事錄》-- 《聖母傳》 -- 《宗徒列傳》-- 《教皇洪序》 -- 11．默思聖難 -- 12．古史像解

第四章: 梵語唐言
13．砥礪塞外 -- 狄化淳 -- 方希聖 -- 14．輔仁畫派 -- 陳緣督 -- 王肅達 -- 徐濟華 -- 陸鴻年 -- 李鳴遠 -- 王呈祥 -- 黃瑞龍 -- 同仁圈

跋
參考書目

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梵語唐言"是一部研究中國近代繪畫藝術嬗變歷史過程的學術專著.作者舉列自己蒐集的大量珍貴美術作品,分析了西方繪畫藝術對中國傳統審美觀念和表現手段的影響,著重從哲學角度探討清末民國以來中國畫家博採西方藝術理念,用於闡發中國民眾喜聞樂見的主題.作者側重介紹了被徐悲鴻譽為"中國西洋畫搖籃"的土山灣畫館,以及二十世紀四五十年代享譽世界的輔仁大學美術系.我國以往由於缺少實物參考,對這兩個美術機構的研究幾乎為空白,"梵語唐言"試圖在這個領域做一些有益的,建設性的探索.

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天主教在中國傳播耶穌福音，相伴而來的還有中國人眼中新異的歐洲繪畫藝術，不論明末清初，還是晚清民國，都對當時中國人的審美觀念有著潛移默化的影響，國人的鑑賞品位多了些濃墨淡雅，別樣馨香。同時期在歐洲，從宮廷到教會，時常不斷地收到來自東方的美術作品，以及對這個古老國家人文地理、民俗風情、科學藝術的介紹，豐富了那里人們對“遠在天邊”的類族之了解，調整著自身的思想內涵和文化格局。東海西海，心理攸同。

　 　“東西來去”帶來的不僅是文化的碰撞和交流，也改變著行為主體自身的方式和態度。從利瑪竇的“適應政策”，到“禮儀之爭”，再到“本地化”實踐，一條波浪曲線勾勒出天主教在中國的積極探索、保守搖擺和無奈選擇。天主教在中國從一群心揣理想、無依無靠的“探險者”，經過兩百餘年的披荊斬棘，成為中國第一次“對外開放”或日“第一次現代化進程”的參與者、推動者、見證者，又是利益攸關者，也是最大的受惠者之一。否極泰來，盛極而衰。世間事物難逃自然規律和社會進程的魔咒。第二次世界大戰打亂了世界以及中國文明的進程，前所未有的經濟能力的縮水和社會財富的滅失，使得這個社會難以供養寄附生存的宗教機構。不僅天主教如此，中國的其他宗教也是如此。百教凋敝。皮之不存，毛將焉附。何論繪畫？

　　從土山灣畫館到輔仁畫派的藝術實踐，人們在中國天主教繪畫嬗變中看到了什麼？第一，藝術即工具。最初下水嘗試者往往謹小慎微，小心翼翼地模仿歐洲同行的成熟作品，為其之用。他們的目的尚不清晰，僅僅為了滿足宣教需要。其中有些人久居中國，受中國文化的少許感染，提出“本地化”實踐更符合傳播耶穌基督福音的效果，比如范世熙神父，他提出了聖像畫繪製的改進方向，自己卻沒有做更多具體嘗試，與他在中國從事美術工作的時間短暫不無關係。第二，藝術即目的。土山灣畫館有賴於文化涵養深厚的一代領導人的遠見卓識，把一間默默無聞的加工聖像畫的作坊，建成蜚聲十里洋場的西洋畫教育和培訓基地，奠定了西洋藝術在中國傳播的基礎，生根開花結果，新生代藝術家從這裡走向全國。土山灣畫館繪畫藝術的內涵和外延給時代帶來的更多的不是天主教主題的變化，而是繪畫技藝的引進、鑑賞力的豐富以及世俗化的擴張。第三，藝術即存在。顧名思義，“本土化”實踐本質上是外來的思想和觀念與引入地傳統的融合過程，外來的東西蛻化揚棄，本土的傳統脫塵不凡。輔仁畫派歷存三十餘年，中經戰爭罹難，“本土化”實踐成果得到國際美術界充分肯定，是極少數公認的中國繪畫流派之一。對於那些才華橫溢的畫家來說或許往事如煙，然而他們出神入化的藝術作品一定會流芳百世。

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).
See online exhibit.

"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.

[The Annunciation] / Lu Hongnian 陸鴻年 (John Lu Hung-nien).
Inscription: "一九四八年春日太倉陸鴻年敬繪於北平" (Spring, 1948, painted by Lu Hongnian [of] Taicang [Jiangsu Province] in Beiping). Calligraphy and seal on painting.
Chinese watercolors on silk, mounted as hanging scroll.
DESCRIPTION: Untitled depiction of the angel Gabriel appearing to Mary surrounded by clouds with the dove of the Holy Spirit above. Figures and subject environment are entirely Chinese, done in the method suggested by Card. Celso Costantini during his tenure in the 1930's, and carried out in the 1940's by the Art Department of Furen Catholic University in Beijing. 

The Virgin Mary and Catholic identities in Chinese history / Jeremy Clarke, SJ.
Includes bibliographical references (pages [201]-263) and index.

Pt. 1. Images of Mary in China before 1842 -- 1.Chinese Christian art during the pre-modern period -- Katerina Ilioni of Yangzhou -- Madonna and Guanyin -- Marian images during the late Ming dynasty -- The Madonna in Master Cheng's Ink Garden -- Marian sodalities -- João da Rocha and the rosary -- pt. 2 The Chinese Catholic Church since 1842 -- 2. After the treaties -- French Marian devotions -- The effects of the Chinese Rites Controversy -- A sense of cultural superiority -- The influence of Marian events in Europe -- 3. Our Lady of Donglu -- Visual influences on the Donglu portrait -- Photographs of Cixi -- Liu Bizhen's painting -- 4. The rise and fall of the French protectorate Benedict XV and Maximum Illud -- Shanghai Plenary Council, 1924 -- Synodal Commission -- pt. 3 Images of Mary in the early twentieth century -- 5.The Furen art department -- The creation of the Catholic University of Peking -- The emergence of Chinese Christian art -- Celso Costantini and Luke Chen Yuandu -- 6. The Chinese dimension to the Furen Christian art -- Art as a catechetical tool -- Marian paintings -- Sheshan Shengmu.

Dig.pdf. local access. [Clarke-Virgin Mary.pdf]