This exhibition has been
realized through Chang Tsong-zung's extraordinary personal
commitment to bringing China's old-new culture to a world
audience. He has assembled fine, important examples of
prints representing virtually every style and development of
this particularly rich art form. Most of the works are
famous in China; all are of major historical value; some,
such as the
nianhua from
the early 1950s, are possibly unique surviving examples.
Tsong-zung applied his inquiring spirit, discerning eye,
knowledge of China's ancient and modern art, tenacity,
dedication to excellence, and friendship with artists and
collectors to bring the prints together for us.
Tsong-zung's nature has manifest itself to
me personally in unfailing kindness. Always ready to share
his extensive experience and resourcefulness, he solved many
problems that inevitably surfaced as the exhibition
preparations progressed. He is a model practitioner of the
ancient Chinese tradition of collaboration between
friends.
The generosity of spirit that Tsong-zung
brought to every aspect of his curatorship was echoed by the
artists who lent to the exhibition rare works from their own
collections to Wang Qi, Yan Han, Xu Bing, Fang Lijun, Zhang
Minjie, Huang Huaxiang, Zhao Yannian, Wu Jide, Chen Haiyan,
Song Enhou, Xu Kuang, Huang Peimo, and Chao Mei, I offer my
sincerest appreciation. The exhibition also received choice
loans from private collectors who wish to remain anonymous
and to whom I offer my gratitude. Special thanks also go to
Wang Qi, who wrote the exhibition's title with his fine and
distinctive calligraphy, so that it might grace the
catalogue.
From the Shenzhen Institute of Art, Yan
Shancun, adviser to the exhibition, contributed valuable
expertise in the history of the art of the People's Republic
of China. In addition, his knowledge of the means by which
these works were brought into existence-gained from his own
training in the woodblock medium and his personal
acquaintanceship with woodblock artists-has enriched the
catalogue with technical insights.
In Hong Kong, the "base area" where the
prints were assembled, Marcello Kwan was coordinator in
charge of logistics until the prints began their long
journey to Israel. Marcello fulfilled his complicated,
time-consuming task with unassuming modesty. In addition,
his contribution of calligraphy for the chapter headings has
added beauty to the format of the text.
My sincere thanks to the staff members of
Hanart T Z Gallery, in Hong Kong, who contributed time,
advice, and support to this project, helping me with my many
inquiries.
In Israel, Galia Bar Or, director of the
Museum of Art Ein Harod, placed the museum's resources fully
behind the project. An outstanding curator of Israeli art,
Galia is also committed to bringing the art of other
cultures to Israeli viewers. Her love of art is linked to
her humane vision of it as a medium for human beings to
understand each other. Galia's personal charm and capacity
for endless work made it possible to get a hard job
done.
I wish to thank staff members of the Museum
of Art Ein Harod, who have given me wholehearted assistance
with my constant inquiries and requests: Ayala Openheimer,
Ayala Bessor, Amira Gardi and Devora Liss. Particular thanks
to Yaniv Shapiro and Yon Nino, whose conservatorial skills
prepared the art works for their long tour.
His Excellency, the Ambassador of the
Embassy of the People's Republic of China in Israel, Mr.
Wang Changyi, extended his personal patronage to the
exhibition. As part of the celebrations marking the fiftieth
anniversary of the People's Republic of China, the Embassy
has assisted in the publication of this catalogue.
The support of Mr. Che Zhaohe, who was First
Secretary (Cultural) of the Embassy during the exhibition's
planning stages, was invaluable in sustaining my
determination to bring the project to fruition. Mr. Yan
Xiangdong, as Cultural Attache, continued Mr. Che's work,
offering help and advice whenever needed.
The team assembled for production of the
catalogue worked under great pressure, owing to my constant
changes and delays in forwarding text. I thank my Hebrew
translator, Einat Adi, and graphic designer, Irit Danoch,
for their patience with me; theirs was service beyond the
call of duty. By joining the team, our Hebrew editor, Orna
Yehudiof, enabled us to publish the Hebrew catalogue on
time.
Li Youchun, Han Guohong and Zhou Quanlin,
Chinese friends studying here in Israel, assisted in
translating Chinese to English and offered pertinent
observations on the Chinese customs depicted in the
prints.
In England, Anne Farrer, Keeper of Oriental
Antiquites at the British Museum, made its marvelous
collection of prints available to me for study and shared
with me her expert knowledge of them. Eduardo Welsh, whose
academic training in England has been augmented by study in
China with Chinese artists, offered vital information on the
context of the prints'production and on the techniques used
by print artists. In Berlin, Willibald Veit, Director of the
Museum fur Ostasiatishe Kunst, devoted precious time to my
visit so that I could view the museum's exceptional holdings
of nianhua.
Dr. Claudius Muller, Deputy Director of the Museum for
Volkerkunde, was also very kind in arranging for me to see
the museum's collection of papercuts and
nianhua. Here
in Israel, Anat Turbowitz, Assistant Curator of Asian Art at
the Israel Museum, made valuable suggestions on an early
draft of the manuscript.
I received amazing help from the United
States and shall never look at the catalogue without
thinking of two particular friends. The bibliographical
expertise of Frank Joseph Shulman, Bibliographer, Editor and
Consultant for Reference Publications in Asian Studies
(College Park, Maryland), has long been esteemed among those
who study the Far East. Exceptional efforts by Frank enabled
me to read primary material not available in Israeli
libraries, thereby amplifying my understanding of the
prints. My heartfelt thanks to him.
Ann Englander (Chicago, Illinois), my
closest friend these many years, has been my valued adviser
on all matters concerning the mounting of this exhibition.
In particular, her long experience in the world of
publishing restrained me from wandering down strange paths.
I will always remember her admonitions to be considerate to
my reader and try to be intelligible, although I am by no
means sure I have fulfilled them.
I also wish to thank the museums, listed on
the credit page, that are hosting the exhibition in the
United States. Tsong-zung and I wanted to bring these
beautiful and interesting prints to as wide a public as
possible, and these participating museums have helped to
achieve that goal.
I thank museum visitors for coming to the
exhibition. By viewing the works, you have helped us fulfill
our mission.
Iris Wachs