Fathoming Shanghai: A history in paintings
Print Edition
TO most Shanghainese, the city is a bustling metropolis that’s developing rapidly, a concrete jungle similar to other lively urban centers across the world. But in their new exhibition, painter Chen Xiejun and his daughter Chen Ying show that the glitzy malls and imposing skyscrapers are built on a more than 6,000-year-old foundation of history.
Behind the modern facade, there’s much to be discovered, and “The Imagery of Shanghai” lifts the curtain to reveal the history that is still vital for modern Shanghai.
The father-daughter exhibit, which runs until January 27 at Haiyi Club, brings the public’s attention to Shanghai’s history with a strong focus on the events that have formed the city over the past two centuries.
“Many people only know Shanghai as a bustling modern metropolis, but don’t feel it as a city with history and culture, and that’s what our paintings are expressing,” said the elder Chen.
Over the past three years, the duo has created 167 paintings that will be published in a book, accompanied by an academic, research-oriented text on Shanghai’s development. A total of 87 paintings have been selected for “The Imagery of Shanghai.”
Over 6,000 years, several cultures, like Majiaban, Songze, and Guangfulin have shaped the city, Chen, a former curator of Shanghai Museum, said.
“Modern history has also left us heritage from the industrial and revolution periods and also excellent architecture and old houses,” he said. “The 200 years of modern history isn’t isolated or limited within that time frame, but has a solid foundation that’s constantly progressed in the 6,000 years.”
To Chen, understanding the history of Shanghai, its landmarks as well as its geographic development are vital in painting the city.
As an example, Chen said that the significance of the city’s waterways, which are depicted in his art, have changed tremendously over the centuries.
During the Yuan Dynasty (1271–1368), Shanghai’s most important river was the Wusong, now known as Suzhou Creek. Today, the Huangpu is the most vital waterway, dividing the city in east and west and providing a link to the Yangtze.
“‘The tale of rivers’ was my reflection of Suzhou Creek and Huangpu River as I’ve lived on Yuanmingyuan Road for more than 50 years and grew up by the rivers,” Chen said.
Their study of the history of Shanghai over the past two centuries gave the two painters new ideas and inspirations.
One main chapter of the collection focuses on shikumen, the traditional Shanghai architecture style for low-rise housing that combines Chinese and western elements. Chen said that shikumen homes are closely related to the formation of modern Shanghainese’s characters.
As residence of the middle class, they were private spaces, and yet, Chen, said, “Shanghai people’s character is not isolated. When you walk out of the shikumen house, you’re in a narrow lane that leads to a broad lane before reaching the main road. It’s a transition from private space to the big society,” Chen explained. In his paintings, Chen offers an insight into the role of space in shikumen houses and their alleyways.
Chen and his daughter explored different styles with the paintings, including the visually strong impasto technique and the use of bright colors.
“Though Shanghai has a long history, we still think the modern aesthetic is more vibrant and lively, and we’ve also explored ways to express the Chinese charm and style using oil painting materials,” he said.
Although it took three years to complete their 167-paintings-strong collection, the work has been in progress for decades, Chen said.
Chen has always seen painting as a hobby that he pursues with tenacity.
Wherever he walks or travels, he can’t help but to draw sketches, even when at an altitude of 6,100 meters, facing the Mount Everest.
“I have to take every chance to paint,” he said. His work schedule is busy and he likes to attend social events on the weekends, so when he does pick up the brush, he is determined and knows exactly what he wants to do.
“Time is very limited, but this also forces me to think more when doing something and be very precise when actually doing it, and over time it’s also becoming one kind of painting language,” he said.
Chen’s previous series of paintings called “The Imagery of the Forbidden City” was exhibited in Beijing last spring. This year, he plans to focus his paintings on Taihang Mountains, a Chinese mountain range running down the eastern edge of the Loess Plateau in Shanxi, Henan and Shaanxi provinces, and Chongming Island, Shanghai.
The Imagery of Shanghai
Time: Through January 27, 9:30am - 5pm, Tuesdays to Sundays
Venue: Haiyi Club
Address: 681 Julu Rd
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