BRONZE SCULPTURE PORTRAIT AS A MEANS OF REPRESENTING CHINESE HISTORY (ON THE EXAMPLE OF QIAN SHAOWU’S WORK)

Abstract

Analysis of Qian Shaowu’s creative output (钱绍武, 1928–2021) allows us to trace how, through portraits of prominent figures in Chinese history and culture, a holistic representation of the country’s national heritage is formed. The focus is on a gallery of historical figures, including literary classics Du Fu and Cao Xueqin, 20th-century artists Xu Beihong, as well as symbols of the national spirit embodied in the images of Sun Yat-sen and A Bing. This portrait pantheon becomes a means of actualizing the Confucian ideals of loyalty to tradition, service to society, and veneration of ancestors. Special attention is paid to the synthesis of Western and Eastern artistic practices in Qian Shaowu’s work, which was made possible by his unique education: the study of Chinese calligraphy and painting at the same time as mastering European sculptural techniques. This dialogue of cultures was manifested in the combination of classical monumental form with a deep psychologization of images, where bronze acquires the properties of a living material capable of transmitting the inner energy of the model. In works on historical themes, such as “The Song of the Road” or “The Foolish Old Man Moves Mountains”, the artist goes beyond the portrait genre, creating multifaceted compositions filled with symbolism and philosophical content. Qian Shaowu’s monumental portraits combine classical rigor with the dynamics of forms, and portrait-genre compositions reveal the ability to convey movement and emotional tension. Qian Shaowu’s sculptural portrait represents historical reflections of the present, contributing to the formation of collective memory and the preservation of national identity. His legacy demonstrates how traditional materials and techniques are reinterpreted to address contemporary artistic and social challenges, contributing to the development of both Chinese and global sculptural art.