During the heyday of the Hundred Flowers period the Chinese literary rebels sought their models outside China. They understood that, if liberalisation were to have any chance at all, it should reach China via the communist countries and not via the Western world. Therefore many Chinese writers studied Soviet literature, and made no secret of their admiration for those Soviet writers who had presented unorthodox views, or views that, though correct in the Soviet Union, seemed to be unorthodox in the Chinese context. Zoshchenko, Ehrenburg, Galina Nikolayeva, Ovechkin and Simonov were admired by the very Chinese writers who were later labelled as major “rightists,” such as Liu Pin-yen, Ch'in Chao-yang and Huang Ch'iu-yün. Several liberal Chinese writers also readily adopted the Soviet habit of extolling the Russian classics as literary models. Thus, in 1956, during the Chinese commemoration of the seventy-fifth anniversary of Dostoyevsky's death, one Chinese critic spoke of “humanism” (jen-tao-chu-i) as one of Dostoyevsky's contributions. Feng Hsüeh-feng praised the humanistic spirit of the old Russian literature and criticised contemporary Chinese works as untruthful. Hsiao Ch'ien, another major “rightist,” in an essay on short story writing advocated the style of Chekhov and I. A. Bunin. One dogmatic Party leader, moreover, was criticised by the non-conformists for having a low opinion of Chekhov's Uncle Vanya.
Understanding of Humanistic Spirit in Urban Sculpture
