In early 2005, M. James (aka Ma Di) was invited to the home studio of Hou Yimin and
Deng Shu. Hou Yimin and Deng Shu, with the help of a translator, shared photos,
sketches, sculptures, and paintings of portraits, murals, landscapes and historical events
covering many decades.

Following that first visit there were several more visits in 2005. And each time Hou and
Deng shared their artistic talents and their lifetime of scholarship with M. James.
And M. James became a student of Modern Chinese art history.

 

In late 2005 following M. James visit with Hou Yimin, Hou gave M. James a collection
of thirty Chinese fables from two millennia which are some of the rarest Chinese literary
gems. Each fable was illustrated with a master watercolor painting by Hou and an
original modern poem by Hou’s close friend, literary master Liu Zheng.

The published collection was signed Hou Yimin and annotated that M. James should
consider it for possible bi-lingual publication to be shared with western people.

 

"Mr Monte James, for your consideration, Hou Yimin 2005/12/18, Beijing"
M. James shared a sample of the collection with an internationally renowned translator,
Bill Porter, who is also a recognized scholar of Chinese Culture. Bill replied that the
project was a great project to go ahead with. M. James proceeded. The result is a fine
cultural treasure.

 

In addition to the soft cover edition of One Moon One Heart, an edition of three hundred
hard copies were created. Hou Yimin and Liu Zheng were happy with the result and they
co- signed Brush and Ink, and added their Red In Chop to each of the three hundred
copies for collectors.

   

Following publication of the,
"ONE MOON ONE HEART" collection, Hou Yimin and Deng Shu invited
M.James to join them at their mountain home to spend "Moon Day holiday".
The holiday ending the Lunar New Year celebration.

On arrival at Hou's home, M.James was introduced to a small number of other
guests and art professionals. Hou's acquaintances and old friends invited to share
a meal and "Lunar New Year".

 

The day was spent touring a number of Museum Quality Galleries. Large rooms
attached to Hou and Deng's fenced and gated mountain home. M.James was
fortunate to be a welcomed guest.
The group of Hou's guests and scholars handled artifacts, and viewed watercolor
and oil paintings. Art treasures created prior to, and subsequent to, the founding of
New China, (1949)

 

Hou Yimin’s representation of his personal and professional relations with M. James was
well received by the small group of Chinese artists and scholars and led to invitations for
future meetings.

 

Dong Xi Wen was a contemporary artist and good friend of Hou Yimin. Hou had been
involved in politics prior to the establishment of New China,1949, at which time Hou
endorsed Dong Xi Wen for Party Membership.

 

Following the “New Moon” gathering, Hou Yimin suggested to Dong Yi Xia, Dong Xi
Wen’s daughter, that she meet M. James to teach him more about her late father’s art and
History.

 

 

In May 1964 the China Federation of Literature and Art Implemented the CCP's policies.
Literature and art should serve the people and socialism in the core socialist values, the
deepest, fundamental and most external is patriotism. Works imbued with patriotic
sentiment are most effective in rallying the Chinese people to unity and struggle.

 

Hou Yimin anticipated that by collaborating with M.James, their art from pre-1949 and
beyond could be included in the international art and culture of the century.
Hou Yimin and his Chinese art and literary colleagues Deng Shu(his Wife), Liu Zheng,
Chang Xiana, Dong Xiwen and Zhou Lingzhao all became acquainted with M.James, and
chose to share their art and history.

After becoming acquainted Zhou Lingzhao invited M. James to visit his Beijing home
studio. M. James accepted his invitation.

 

Zhou Lingzhao was a famous Chinese artist, art educator, Chinese art design master and
one of the pioneers of the Chinese mural movement. His early artwork, prior to 1949,
included art and sketches related to Japanese occupation of China (1930’s) and creation
of his oil painting showing the Historical May Four Movement.

 

 

In 1949, about twenty days before the founding ceremony, Zhou Lingzhao received the
task of painting a portrait of Chairman Mao for the Tiananmen Gate Tower
On the night of September 30, 1949, a work 6 meters high and 4.6 meters wide was
completed.

In 1947 Hou Yimin joined the student underground group and continued his underground
association through 1948 until the founding of New China.

Hou Yimin, seventeen years old (1947/48)
Self Portrait

When Hou Yimin was looking through his old manuscripts he considered destroying
them to clean up. But the manuscripts covered sixty years containing all the past
memories. The vibrant lives of deceased teachers and friends appeared before his eyes.
He could not bear to destroy the manuscripts. It was a record of joys and sorrows
creating his art.

   

And he recorded memories when he was being criticized and mistreated during the
cultural revolution creating the heartbreak and sadness eroding his confidence quickly.
But he always cared to promote nationality. And he always kept in mind an old slogan
”Serve the People“ which he followed throughout his life.

 

 

In May of 1964 Chairman Mao re-criticized literary and artwork severely, thinking that
subsidiary associations of China Federation of Literary and Art Circles did not implement
the CCPs policies. “Socialist Education Movement,” that is when “Four Clean-ups”
campaign” started.

In 2014, China’s top leader. Xi Jinping proclaimed, literature and art should serve the
people and socialism in the core Socialist values, the deepest, fundamental and most
eternal is patriotism,” he said. “Works imbued with patriotic sentiment are most effective
in rallying the Chinese people to unity and struggle.”
Mr Xi’s dictate has since set the tone for Chinese cinema.

(NY Times 03/30/2020)