Return To China
At the end of his studies in Brussels in 1935, Zhang made a tour of France, Britain, the Netherlands, Germany, Austria and Italy before returning home to China. Upon his arrival back in Shanghai in 1936, Zhang held a number of shows exhibiting his drawings and sculptures. He also established the Chongren Studio to further his art and to teach.
Hergé lost contact with him during the invasion of China by Japan (which is usually regarded as the start of the Second Sino-Japanese War) and the subsequent civil war. More than four decades would pass before the two friends would meet again. In an instance of life mirroring art, Hergé managed to resume contact with his old friend Zhang Chongren, years after Tintin rescued the fictional Chang in the closing pages of Tintin in Tibet. Zhang had been reduced to a street sweeper by the Cultural Revolution, before becoming the head of the Fine Arts Academy in Shanghai during the 1970s.
After the economic liberalisation of China from 1979, Zhang received widespread acknowledgment in the Chinese art community. A collection of his oil paintings and sculptures were published and in his later years, Zhang worked as an editor and translator of several books on art. Among the portraits he has painted are those of Chinese paramount leader Deng Xiaoping and French President François Mitterrand.
Zhang returned to Europe for a reunion with Hergé in 1981 upon invitation of the French government. In 1989 he received French citizenship and settled down to teach in Paris (Nogent sur Marne), where he died in 1998. Shortly after his death, a memorial museum dedicated to him was established in Shanghai. A number of his paintings and sculptures are held in the China Museum of Fine Art in Beijing and the China Museum of Revolutionary Warfare.
Read more about this topic: Zhang Chongren
Famous quotes containing the words return to, return and/or china:
“I find very reasonable the Celtic belief that the souls of our dearly departed are trapped in some inferior being, in an animal, a plant, an inanimate object, indeed lost to us until the day, which for some never arrives, when we find that we pass near the tree, or come to possess the object which is their prison. Then they quiver, call us, and as soon as we have recognized them, the spell is broken. Freed by us, they have vanquished death and return to live with us.”
—Marcel Proust (1871–1922)
“To save the theatre, the theatre must be destroyed, the actors and actresses must all die of the plague. They poison the air, they make art impossible. It is not drama that they play, but pieces for the theatre. We should return to the Greeks, play in the open air; the drama dies of stalls and boxes and evening dress, and people who come to digest their dinner.”
—Eleonora Duse (1859–1924)
“It all ended with the circuslike whump of a monstrous box on the ear with which I knocked down the traitress who rolled up in a ball where she had collapsed, her eyes glistening at me through her spread fingers—all in all quite flattered, I think. Automatically, I searched for something to throw at her, saw the china sugar bowl I had given her for Easter, took the thing under my arm and went out, slamming the door.”
—Vladimir Nabokov (1899–1977)