Like father like son?

So, while I’m going back in time to fish out what Ai Weiwei is up to in the year 1979, I figure I’ll just keep going to 1932.  This of course is a bit far for Weiwei to follow, and so I’m looking instead at what his father was up to when he was 22 years old (or so).  In Ai Weiwei’s case, he was revolutionizing the language of visual art, setting the stage for China’s contemporary art movement.  Similarly, Weiwei’s father Ai Qing, recently returned from his three year study tour in France where he was also a painter, was preparing to revolutionize China in even more significant ways (Ai Qing later to become a powerful cultural figure in the Chinese Communist Party).  Prior to this, though, he was making his mark on the art of poetry, with, among others, the following composition:

 

“When Dawn Puts On White Clothes

(on the train from Paris to Marseilles)”

 

Amidst grove upon grove of violet trees

And through the gray-green hills

Are green grasslands,

Upon which drifts

–a fresh milky mist

 

Ah, as dawn puts on white clothes,

The plains are this fresh!

 

Look,

The faint yellow electric light

of lamp posts shuttering out their final rays.

Look!

 

當黎明穿上了白衣

 

紫藍的林子與林子之間

由青灰的山坡到青灰的山坡

綠的草原,

綠的草原, 草原上流着

──新鮮的乳液似的煙。。。。。

啊, 當黎明穿上了白衣的時候,

田野是這麼新鮮!

看,

微黃的燈光,

正在電桿上顫慄牠的最後的時間。

看!

(Xiandai 现代 1.5 1932: 616)

Though topically certainly different works (from the “Scenery” below), they are stylistically related, a fact which marks the somewhat curiously circular path of Chinese modernity, not to mention, at least for me, a pleasing continuity in this particular family.  All else aside, they still produce some beautiful works (even if 灰绿 is a difficult word to translate). “Look.”

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