판위량(Pan Yuliang), 중국, 서양화가, 1895-1977
중국의 '판위량 潘玉良'은 비천한 창기에서 세계적 화가로 탈바꿈해 불꽃처럼 살았던 여류 화가입니다. 어려서 부모를 잃고 외삼촌 손에서 자라다가 놀음 빚에 기방의 창기로 팔려갔죠. 그곳에서 만난 신임 세관 간부는 그녀를 첩으로 받아들인 후, 문학과 예술을 공부시켜 줍니다.
상하이미술학교에서 누드를 그리며, 그녀는 사회적 속박에 대한 반감을 표현했습니다. 그리고 파리와 로마로 유학도 다녀왔답니다. 귀국 후 모교의 교수가 되고 중국에서 손꼽히는 서양화가가 되지만, 주변에선 그녀의 과거를 들먹이며 손가락질하죠.
공산당의 실세였던 남편마저 위기에 빠지자, 그녀는 파리로 돌아가 화혼(畵魂)을 불사르고, 그곳에서 생을 마친답니다. 계급적 압박과 잔인한 운명에 순응하지 않고, 화폭에서 자신을 찾은 그녀의 드라마틱한 삶은 소설로도 쓰였고, 공리 주연의 영화 "화혼(畵魂)"으로 만들어졌답니다.
About Her
Ms. Simone Hou was a friend of Pang Yuliang, Bears a signature in the lower-left corner. Stenciled inscription on the frame and back of the S.HOU frame and handwritten inscription on the Pan Yuliang frame.
Pan Yuliang (Chinese: 潘玉良, 14 June 1895 – 1977), born in Yangzhou as Chen Xiuqing, and was renamed Zhang Yuliang (張玉良) when adopted by her maternal uncle after the early passing of her parents. She was a Chinese painter, renowned as the first woman in the country to paint in the Western-style. She had studied in Shanghai and Paris. Because her modernist works caused controversy and drew severe criticism in China during the 1930s, Pan returned to Paris in 1937 to live and work for the next 40 years. She taught at the École des Beaux-Arts, won several awards for her work, had exhibits internationally in Europe, the United States, and Japan, and was collected by major institutions.
In 1985 after her death, much of her work was transported to China, collected by the National Art Museum in the capital of Beijing, the larger part is collected by the Anhui Museum in Hefei, the capital of Anhui Province. Nevertheless, significant paintings, sculptures, and prints are still conserved in France in the collection of the Cernuschi Museum. Her life as an artist has been portrayed in novels and films in China and the United States. Her art evolved within the flux of transformations where conflicting dichotomies of East and West, tradition and modernity, male chauvinism, and emerging feminism co-existed.
Pan is also figured as who engaged with labels, such as " contemporary/modern," " Chinese," and " woman" artist while questioning them. Despite being remembered for introducing Western paintings to China, she was able to provide a new lens to how these women were seen through her paintings as not just objects but subjects.
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