「문인화의 가치(文人畵之價値)」: 천스쩡(陳師曾)의 문인화론 = “The Value of Literati Painting”: Chen Shizeng’s Theory of Literati Painting

다국어 초록 (Multilingual Abstract)

Chen Shizeng (1876-1923) was a representative figure of the Traditionalist School in the Republican period of China. He was not only a painter and an educator but also a theorist and a government official. In 1921, Chen published an essay written in vernacular style entitled “The Value of Literati Painting.” In the following year, he edited it in literary style and included it in Studies of Chinese Literati Painting along with Omura Seigai's (1868-1927) The Revival of Literati Painting. Since its initial publication, Studies of Chinese Literati Painting has been accepted and published to this date as a classic text of modern Chinese literati painting theory. In the early twentieth century, reformists criticized the custom of ‘imitating the old masters’ in traditional painting and insisted that such convention should be replaced by Western realism and techniques of sketching from nature. Chen Shizeng published “The Value of Literati Painting” in defense of traditional values, which, while causing a great sensation in Chinese society, deeply contributed to the idea of selective reception of tradition. The philosophy of traditionalists including Chen Shizeng as such had a close affinity with the ideology of Liang Qichao (1873-1929) who was a great leader in the academic circle of thought.
In “The Value of Literati Painting,” Chen defined the identity of Chinese literati painting and described the history of its development through works of artists and art theorists. Chen listed virtues of literati painting as well as good paintings in general to be character, knowledge, spirituality, and brilliance. While 'spirituality' and 'brilliance' were terms derived from Ming dynasty literary theory, 'character' and 'knowledge' were qualities of literati painters mentioned in historical art theory texts of China. Additionally, Chen claimed that literati painting was a progressive mode of art, for its idea of xieyi (picturing the idea) reflected the Western notion of subjectivity.
Ultimately through “The Value of Literati Painting,” Chen argued that literati painting was a form of painting that had been born in China. From this argument, one can infer Sinocentrism, an assumption that Chinese traditional painting influenced the art of surrounding nations. This is evident in his inclusion of ‘Chinese’ in the title Studies of Chinese Literati Painting, a book that also consists of Omura Seigai’s writing on Japanese literati painting. Moreover, his status as a central figure of the class of government-official-artists present only in Beijing during the early years of the Republic of China, alludes to his belief in the elitism of upper class artists as new literati painters. Chen's intent behind the text can be interpreted as reviving Sinocentrism based on nationalist beliefs and strengthening his own prestige as an government official and elite literati painter.
Studies of Chinese Literati Painting had been published up to its 8th edition until 1941 after its first edition. After the long hiatus of the Cultural Revolution, it was published again in 1990, 1992, and 2016. These three points of time are very interesting because it was 1989 when Fei Xiaotong (1910- 2005) announced the theory of ‘from Pluralism to an Organic Whole of the Chinese Nation’ and the president Xi Jinping pointed out the traditional culture as a means of ‘Chinese Dream’ in 2014. What does such public attention to this book connoting cultural nationalism and Sinocentrism mean in the 21st century?

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