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초록·키워드
Ye Qianyu(葉淺予, 1907~1995) was a pioneering figure in modern Chinese manhua(comics) and one of the leading painters of dance pictures in the modern-contemporary era, to the extent where he might be described as the Edgar Degas of East Asia. As an educator, too, Ye succeeded Xu Beihong(徐悲鴻, 1895~1953) as the longestserving head of Chinese painting at National Beiping Art College, the predecessor of China Central Academy of Fine Arts.
Dai Ailian’s Stage Forms from the 1940s, a leading work by Ye in his final years, can be taken representative of his long life journey and artistic activity. In addition to its significance as one of Ye’s major works, this piece plays an important role in helping us understand the character of the dance pictures that account for the greatest single portion of his paintings and which he produced throughout his life. Also interesting is the fact that the sitter depicted is Dai Ailian(戴愛蓮, 1916~2005), Ye’s former wife and an eminent dancer. Dai Ailian’s Stage Forms from the 1940s, as its title demonstrates, is densely packed with images of Dai in action in the 1940s.
It is largely thanks to old sketches and photographs that he had kept that Ye was able to depict images of his former wife in action some 40 years ago. Based on these, he created images that blended his own unique cartoon style with ancient figure painting styles. Dai Ailian’s Stage Forms from the 1940s can truly be regarded as a condensation of the knowhow that Ye had accumulated as an artist over several decades. In addition to importance as a work, however, it is significant for its symbolic value, located at the beginning and end of Ye’s oeuvre. This is because Ye began producing dance pictures after he met Dai.
The reason Ye suddenly began painting his former wife, Dai, more than 40 years later was that he had never been able to forget her. Ultimately, Dai Ailian’s Stage Forms from the 1940s reflects Ye’s memories of and nostalgia for his love of Dai.
Dai Ailian’s Stage Forms from the 1940s, a leading work by Ye in his final years, can be taken representative of his long life journey and artistic activity. In addition to its significance as one of Ye’s major works, this piece plays an important role in helping us understand the character of the dance pictures that account for the greatest single portion of his paintings and which he produced throughout his life. Also interesting is the fact that the sitter depicted is Dai Ailian(戴愛蓮, 1916~2005), Ye’s former wife and an eminent dancer. Dai Ailian’s Stage Forms from the 1940s, as its title demonstrates, is densely packed with images of Dai in action in the 1940s.
It is largely thanks to old sketches and photographs that he had kept that Ye was able to depict images of his former wife in action some 40 years ago. Based on these, he created images that blended his own unique cartoon style with ancient figure painting styles. Dai Ailian’s Stage Forms from the 1940s can truly be regarded as a condensation of the knowhow that Ye had accumulated as an artist over several decades. In addition to importance as a work, however, it is significant for its symbolic value, located at the beginning and end of Ye’s oeuvre. This is because Ye began producing dance pictures after he met Dai.
The reason Ye suddenly began painting his former wife, Dai, more than 40 years later was that he had never been able to forget her. Ultimately, Dai Ailian’s Stage Forms from the 1940s reflects Ye’s memories of and nostalgia for his love of Dai.
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UCI(KEPA) : I410-ECN-0101-2017-609-000841383
