As part of the Ministry of Culture and Tourism’s National Art Collection and Donation Program and an exhibition under the NAMOC “Donation and Collection” Exhibition Series, Shaping Techniques from Within: Yan Dehui Art Exhibition kicked off on July 30, 2024. The exhibition featured over 40 artworks by Yan Dehui, donated to the the National Art Museum of China (NAMOC) by Yan’s daughter, Marianne Yen. This was the late artist’s first exhibition in China. During the exhibition, an art salon was held, where YCA Dean Dong Qiang was invited to speak.
Other notable guests of the salon included Zhao Jinjun, former Chinese ambassador to France; Cao Chunsheng, former director of the Sculpture Department of the Central Academy of Fine Arts (CAFA); Qian Wei, former Chinese counsellor to France; Yan’s daughter, Marianne Yen; NAMOC Director Wu Weishan; Shao Xiaofeng, director of the NAMOC Department of Exhibition; and Zhao Hui, director of the NAMOC Department of Collection. The salon was hosted by Zhang Qing, deputy director of NAMOC.
Dean Dong remarked that by following Yan Dehui’s artistic journey, we may reconsider how Chinese artists saw Chinese culture after their encounters with the West and how these artists worked to integrate Chinese and Western art. Yan’s art is inspiring for today’s mutual learning between Chinese and Western civilizations.
Below is the full text of Dean Dong Qiang’s speech at the salon.
First of all, I would like to extend my sincere thanks to Director Wu Weishan for inviting me to this salon. Many of my friends work with NAMOC, which I think is one of the best places in China to appreciate arts and enjoy the latest and most globally exhibitions in the country. I often spend weekends here, and I also accompany my students and friends to visit.I’m delighted to meet so many friends today at this salon, particularly Director Wu, Ambassador Zhao, Counselor Qian, and other friends from NAMOC. It’s also wonderful to have Ms. Marianne Yen here from France.
I had the honor of attending the state banquet for President Xi at the Élysée Palace last May. During the banquet, I met my good friend Eric Lefèbvre, the director of the Cernuschi Museum. Eric, who studied Chinese at Peking University, invited me to visit the Cernuschi Museum the following day. Due to the pandemic, it had been quite some time since my last visit. I also invited Eric to deliver a speech at an international forum on art exchange between China and France in the 20th century, drawing on the Cernuschi Museum’s experience. During our meeting, Eric immediately mentioned Mr. Yan Dehui. I had actually learned about Mr. Yan and his art before this exhibition.
To be honest, I knew little about Mr. Yan when Eric first mentioned his name. Despite having lived in France for many years and being familiar with most Chinese artists there, I was not aware of Mr. Yan. This seemed both strange and unfortunate. After some research, I realized I had missed his era. Mr. Yan passed away in 1987, the same year I graduated with a B.A. from the Department of French at Peking University. By the time I was forming friendships within the French art circle, Mr. Yan had already passed away. Director Lefèbvre mentioned that Mr. Yan had an exhibition at the Cernuschi Museum in the 1950s and that his works were added to the museum’s collection in the early 21st century. These milestones were undoubtedly significant to Mr. Yan. In a way, he returned to China through these events, as the Cernuschi Museum is a leading Asian art museum in France, housing a large collection of Chinese art.
Please allow me to share my thoughts on Yan’s art and how I appreciate or define it. These are, of course, my personal views.
In Yan’s artworks, I deeply feel the artist’s academic and cultural richness, superb craftsmanship, and extraordinary global vision. That’s what I see in Yan’s work.
First of all, Yan’s work is marked by academic richness, as he studied at some of the best art institutions in France and learned from top artists. With Liu Haisu’s recommendation, Yan studied at France’s prestigious art academy under the renowned sculptor Bouchard. When Bouchard could no longer teach due to personal reasons, Yan continued his studies with Saupique. Yan also studied at various esteemed art institutions in France, including La Grande Chaumière. Moreover, he formed lasting friendships with important art figures in France, such as Hua Tianyou and Pan Yuliang. Although Yan may not be as well-known as Hua Tianyou and Pan Yuliang in domestic and international art circles, due to historical and personal reasons, his solid mastery of basic skills, as Mr. Cao pointed out earlier, formed the foundation of his sculpture and other art creations. I’m not a professional art critic, and I have my own standards for art appreciation. Sometimes, I quickly glance at an exhibition and move on, but in other cases, I examine every piece closely and take photos. If an exhibition doesn’t capture my attention, the artist doesn’t resonate with me. However, with Yan’s exhibition, I wanted to photograph every piece on display to appreciate them later. Additionally, the exhibition at NAMOC was expertly curated, showcasing each piece in the best possible light. The smart lighting allowed us to admire the shadow of each piece on the floor or wall, adding to the artistic experience. This is the first point I wanted to mention.
Secondly, I admire the cultural richness in Yan’s art. Mr. Yan was a literature lover and was deeply influenced by Chinese folk art. He began his artistic journey with boxwood sculpture, which was an extraordinary experience. While studying Western academic art in France, Yan never abandoned his Chinese cultural roots. He was eager to learn both French and Chinese cultures. Yan once planned to pursue a doctoral program under Paul Pelliot, the most famous French Sinologist of the time. Unfortunately, this plan was not realized due to various reasons. Nevertheless, we can see that Mr. Yan truly wanted to delve into French culture and enrich his art with it. At the same time, he drew inspiration from Chinese culture. His sculptures, such as Lin Daiyu and Confucius, reflect his deep love and understanding of Chinese culture. Yan was a sculptor and artist who immersed himself in literature and was well-versed in Chinese folk art, as seen in his other sculptures like Fisherman, Monk Daoji, and Guan Yu.
Thirdly, Yan’s superb craftsmanship is another aspect I greatly admire. He found a perfect balance between traditional academic art and artisan craftsmanship, as he was both an academic artist and an artisan. Many of his works are typical of a well-trained artist from a French institution, while others are deeply rooted in Chinese culture. Yet, all of them showcase Yan’s signature craftsmanship. Unlike some artists who abandon traditional culture after studying modern art forms, Yan retained his commitment to craftsmanship.
Finally, Yan had an extraordinary global vision. His artworks express the art of other countries and ethnic groups, a result of his art education in France. He created sculptures depicting naked African women, gypsy girls, and French people—subjects foreign to Chinese eyes. Whether in Paris or elsewhere in France, Yan remained true to his observations and feelings as a sculptor. In France, sculpture was closely linked with folklore and anthropology. For example, African masks had a direct influence on Picasso’s modern art. Imagine the vibrant cultural life in Paris at that time, where the World Expo allowed Parisians to experience diverse art styles and lifestyles from around the world. This exposure enabled them to see both the diversity and commonality of humanity. Mr. Yan captured this philosophy in his art with great skill.
The above reflects my personal understanding of Yan’s art. I see academic and cultural richness, superb craftsmanship, and extraordinary global vision.
In simple words, I find Mr Yan to be a man of sincerity, inner peace, and warmth. Every single sculpture under his hands is a piece of sincerity, made with the deepest inner peace and love. Whether a sculpture depicted a stranger or a family member, we can feel his love and dedication. No title could better capture Yan’s art than “Shaping Techniques from Within,” as Director Wu aptly chose.
Mr Yan Dehui was originally from Yongjia, Zhejiang province. I think it’s fitting to end my speech with a quote from Xie Lingyun, the famous Yongjia magistrate of the 5th century “Intoxicated by the landscape around, one may forget to go back.” Thanks to Ms Marianne Yen and her family, Mr Yan’s artworks are now part of a Chinese museum’s collection I’d like to extend my heartfelt thanks to NAMOC, to Ms Yen and her family. It is because of you that Chinese visitors will be able to admire Mr Yan’s art and what he and other artists of his generation have experienced and achieved on their artistic journeys.
Yan Dehui (1908–1987) was a key Chinese sculptor in France during the 20th century. He was first trained as an apprentice under Zhu Zichang, a renowned boxwood sculptor. In 1927, Yan began to study with Professor Jiang Xiaojian at the Department of Sculpture of Shanghai Academy of Fine Arts (SAFA). After graduation, he joined SAFA as a professor of woodcarving. In 1938, Yan began to study sculpture with Henri Bouchard at Beaux-arts de Paris (Higher School of Fine Arts of Paris). He had since then lived in France. Yan’s works combine Eastern and Western art of sculpture. The artist ingeniously and uniquely integrated Western, modernist philosophy of art in techniques and charm of traditional Chinese culture.
The exhibition was presented Halls 6 and 10 on the first floor of NAMOC. The exhibition at Hall 6 was open to the public from July 30 to August 10, and the one at Hall 10 from July 30 to August 14. The exhibition was closed on Mondays.
