This study explores the innovative contributions of Gao Jianfu 高劍父 (1879-1951), the central figure of the Lingnan School of Painting 嶺南畫派, to traditional Chinese art in the early 20th Century. Gao’s early artistic development, including traditional Chinese painting training under Ju Lian 居廉, significantly influenced his subsequent artistry. Gao proposed “New National Painting” by synthesizing the essence from all over the world, including China, the West, Japan, and Southeast Asia. He emphasized realism and added new motifs, such as airplanes, in his works. Gao’s involvement in the revolutionary movement spearheaded by Sun Yat-sen 孫中山 is of significant note. His political engagements deeply informed his artistic philosophy, particularly in the way he conceptualized “uniqueness” and “change” in art as a dynamic interplay with his political experiences.

My research methodology involves an in-depth examination of specific paintings by Gao (such as Flames on the Eastern Battlefront 東戰場的烈焰 (1932), The Himalayas 喜瑪拉雅山 (1933)), and a detailed analysis of his unique blending of global artistic influences. The purpose of this study is to highlight Gao Jianfu’s significant role in modern Chinese painting history, focusing on his creative techniques and their impact on his work. The expected outcome of this research is a comprehensive understanding of Gao’s unique artistic style and his broad influence in the field of Chinese painting, in particular the “New National Painting” and the Lingnan School of Painting.

Authors:
Bianca Yin-ki Cheung, Lingnan University, Hong Kong

About the Presenter(s)
Dr. Bianca Yin-ki Cheung is an Assistant Professor of Teaching in the Department of History of Lingnan University. Her research interests include modern China, gender history, and history of Chinese painting.

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