Echoes of Roar, China! On Vision and Voice in Modern Chinese Art

Echoes of Roar, China! On Vision and Voice in Modern Chinese Art or idiosyncratic visual language that would be associated with various modernist schools and that Tang ❘ Echoes of Roar, China! Figure 2 Lai Shaoqi, Roaring China, 1936, woodblock print, 12 3 11.5 cm. Reprinted from Banhua jicheng (Landmarks in Prints) (Shanghai and Nanjing: Lu Xun Jinian guan and Jiangsu Guji, 1991) would undercut a claim to realistic representation. In all these aspects the Second National Exhibition was remarkably consistent with its predecessor, the first National Joint Woodcut Exhibition that took place in Beiping in January 1935. One striking feature of the second exhibition that originated from Guangzhou, compared to the first exhibition, was the fascination with what Li Hua’s print Roar, China! explored both thematically and formally. At least ten artists, judging by the exhibition catalog published in the accompanying Field of Woodcuts, contributed about fourteen prints that sought to depict a collective and reverberating voice. This fascination with an aural experience and expression, for instance, is central to Tang Yingwei’s Outcry and Women’s Voice, Hu Qizao’s Angry Roar, Lai Shaoqi’s Roaring China (fig. 2), and many other works. The reach of Roar, China! went far beyond the exhibition of 1936. The positions 14:2 Fall 2006 print has http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png positions asia critique Duke University Press

Echoes of Roar, China! On Vision and Voice in Modern Chinese Art

positions asia critique, Volume 14 (2) – Sep 1, 2006

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Publisher
Duke University Press
Copyright
© 2006 by Duke University Press
ISSN
1067-9847
eISSN
1067-9847
DOI
10.1215/10679847-2006-010
Publisher site
See Article on Publisher Site

Abstract

or idiosyncratic visual language that would be associated with various modernist schools and that Tang ❘ Echoes of Roar, China! Figure 2 Lai Shaoqi, Roaring China, 1936, woodblock print, 12 3 11.5 cm. Reprinted from Banhua jicheng (Landmarks in Prints) (Shanghai and Nanjing: Lu Xun Jinian guan and Jiangsu Guji, 1991) would undercut a claim to realistic representation. In all these aspects the Second National Exhibition was remarkably consistent with its predecessor, the first National Joint Woodcut Exhibition that took place in Beiping in January 1935. One striking feature of the second exhibition that originated from Guangzhou, compared to the first exhibition, was the fascination with what Li Hua’s print Roar, China! explored both thematically and formally. At least ten artists, judging by the exhibition catalog published in the accompanying Field of Woodcuts, contributed about fourteen prints that sought to depict a collective and reverberating voice. This fascination with an aural experience and expression, for instance, is central to Tang Yingwei’s Outcry and Women’s Voice, Hu Qizao’s Angry Roar, Lai Shaoqi’s Roaring China (fig. 2), and many other works. The reach of Roar, China! went far beyond the exhibition of 1936. The positions 14:2 Fall 2006 print has

Journal

positions asia critiqueDuke University Press

Published: Sep 1, 2006

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