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The Young Companion

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"Liangyou" redirects here. For the company, see Liangyou Group.
The Young Companion
Lingyou magazine cover
First issue, 15 February 1926, featuring actress Hu Die
Editor-in-ChiefZhang Yiheng
Former editors
FrequencyWeekly
Founded1926
First issue15 February 1926
Final issueOctober 1945
CountryChina
Based inShanghai (Hong Kong and Chongqing during WWII)
LanguageChinese, English

The Young Companion, known as Liángyǒu (Chinese: 良友; pinyin: Liángyǒu; Wade–Giles: Liang-yu) in Chinese, was a pictorial with captions in both Chinese and English, published in Shanghai beginning February 1926.[1] Although the direct translation of Liangyou is "Good Companion", the magazine bore the English name The Young Companion on the cover.[2] Called an "iconic magazine" and "a visual shortcut for 'old Shanghai'", the magazine has proven useful in modern times to examine the glamorous side of colonial-era Shanghai.[2] It may have been the most influential large-scale comprehensive pictorial in the 1920s, at least in Asia. It ceased publication in 1945. There were 174 issues in total, which includes the two special issues not given monthly issue numbers, the Sun Yat-sen Memorial Special Issue and the Eighth Anniversary issue.[3] Since 1945, it has been repeatedly reestablished, but the impact has not been the same.

The magazine ran a mixture of content, including photography, art, literature and sports.[1][4]

History

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Wu Liande 伍聯德 founder of The Young Companion magazine
Wu Liande [zh] traditional Chinese: 伍聯德; simplified Chinese: 伍联德 (1900-1972), the businessman who started the Young Companion and was its first editor. Edited issues 1 through 4.
Zhou Shouyi 周瘦鹃
Zhou Shoujuan 周瘦鵑; 周瘦鹃 (1895-1968) was the second editor of Liangyou June 15, 1926 to March 1927. Edited issues 5 through 12.
Liang Desuo 梁得所
Liang Desuo Chinese: 梁得所 (1905-1938), the third editor of the Young Companion, March 1927 to July 1933. Edited issues 13 through 79
Ma Guoliang 馬國亮
Ma Guoliang 馬國亮; 马国亮 (1908-2002), 4th editor, July 1933-June 1938. Issues 80 through 138.
Zhang Yuanheng 张沅恒
Zhang Yuanheng 張沅恒; 张沅恒, 5th editor, June 1938 through July 1941. Issues 139 through 171, and final (172nd) issue, October 1945.

In 1925 Wu Liande founded the Liangyou Book Company. A year later the Liangyou pictorial magazine was produced, also known as The Young Companion, which was one among "a variety of pictorials" that the Liangyou Book Company produced. Wu Liande acted as the magazine's first editor-in-chief, but was unable to fully administer the post because of his need to attend to the larger business. After the 4th issue, he entrusted the editing to Zhou Shoujuan. Zhou did not stay long and left to study at Qilu University.

In March 1927 Liang Desuo took over editing of The Young Companion as its third editor-in-chief.[citation needed] Within two years, the monthly pictorial sales reached more than 30,000 copies, selling globally.[citation needed] Liang Desuo stayed for six years as the chief editor before leaving The Young Companion in July 1933 being replaced by Ma Guoliang.[citation needed]

In March 1930, it was changed to photogravure printing, and the quality was greatly improved. In August of this year, the 50th edition was increased to 42 pages with 3 pages of multicolored pages.

January to March 1938, the magazine relocated to Hong Kong due to the outbreak of the Anti-Japanese War and fall of Shanghai in 1937.[citation needed] It was suspended in Hong Kong due to bankruptcy of the parent Liangyou Book Company after a run of 138 issues.[citation needed] The new company that owned the magazine was the Liangyou Fuxing Book Company, who restarted The Young Companion in February 1939 in Shanghai under editor-in-chief Zhang Yuanheng (張沅恒).[citation needed] It ran until December 1941, when the 171st issue was published.[citation needed]

The war interfered with further publishing.[citation needed] Even though the Japanese had taken over the parent company Liangyou Fuxing Book Company, and Chinese owners cooperating reopened the company in April 1942, The Young Companion's editor Zhang Yuanheng would not work with them.[citation needed] After the war in October 1945, he published the next and final (172nd) under the name Liangyou Picture Magazine.[citation needed] The Liangyou Fuxing Book Company was closed after the war in 1946, due to the "guilt of shareholders."[citation needed]

Hong Kong Revival

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In 1954 Wu Liande restarted his company in Hong Kong, and "re-released the overseas version of "Liangyou," ceasing publication in 1968.[citation needed] In 1984, Wu Fude, son of Wu Liande restarted the Liangyou Book Company, including the "Liangyou" pictorial.[citation needed] However, the magazine did not become as influential as its previous incarnation in Shanghai.[citation needed]

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The modern girl's dilemma, being pretty versus being active

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The magazine was known for its cover-girls, beautiful women who appeared to be active, "modern girls in motion."[4] The motion was really performed by the girls inside the magazine playing sports, while the cover-girls presented modern women, attractive to men in their Western outfits and implied activities.[4]

The women were modern girls, appearing to not be dressed up looking for men, but living their lives and doing what they enjoyed doing. The modern girls of Shanghai appeared in the city's artwork, including magazines such as The Young Companion and Ling Long, but also in the advertisements of the city and calendars.[5] They were shown as actively living their lives, "driving motorcycles, swimming, horse riding, horse racing, rowing competitions, and participating in social assistance."[5] The term modern girl normally applies to Japanese women of the time, but "the image of modern Chinese women became incorporated into that of the 'Modern Girl' in Japan."[6] Guan Zilan, Liangyou-cover-girl for issue 45, who was a Chinese student and artist who went to Japan to study, was labeled modern girl in this fashion.[6]

Modern scholar Maura Elizabeth Cunningham points out that in spite of the idea of the independence of the modern girl circulating in the period, the magazine showed women how women's sports could be used to satisfy the male gaze and give examples of a "model of femininity for female viewers to reproduce."[4] She also pointed out that the magazine showed progress, with pictures inside the magazine not only showing beauty, but also women actively doing sports, something unimaginable a generation earlier.[7]

References

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  1. ^ a b "艺志的样式《良友》画报 [translation: Art Style "Friends" Illustrated]". cnarts.net. Retrieved 28 June 2018.
  2. ^ a b Mo, Yajun (2015). "Liangyou: Kaleidoscopic Modernity and the Shanghai Metropolis, 1926-1945. Edited by Paul G. Pickowicz, Kuiyi Shen, and Yingjin Zhang (Leiden: Brill, 2013) xi, 287 pp. ISBN 9789004245341 [Modern Asian Art and Visual Culture, v. 1]". The Trans-Asia Photography Review. 5 (2). hdl:2027/spo.7977573.0005.209. Volume 5, Issue 2: Vital Signs: Photography and Eco-Activism in Asia, Spring 2015
  3. ^ "[trams;atopm"Liangyou·film special issue]". Retrieved 31 July 2018. It was published in Shanghai in February 1926, and was published in October 1941 until the 171st issue. After the victory of the Anti-Japanese War in October 1945, the 172nd issue was published. In 1926 and 1934, two special editions of "Sun Yat-sen Memorial Special Issue" and "The Eighth Anniversary Magazine" were published. A total of 174 issues were issued.
  4. ^ a b c d Cunningham, Maura Elizabeth (January 2013). Brill Online Books and Journals, The Modern Girl in Motion: Women and Sports in Liangyou, Overview. Brill. doi:10.1163/9789004263383_006. ISBN 9789004263383. Retrieved 27 June 2018. {{cite book}}: |website= ignored (help)
  5. ^ a b "别找了，美女都在这儿呢，有颜有腰还有腿 [translation: Don't look for it. Beautiful women are here.]". Retrieved 22 June 2018. [illustration with mandolin is 12th image down] ...characterized by the exquisite water-jet brushing of the Western style...content is mainly about women's social life, such as the campus activities of female college students, women driving motorcycles, swimming, horse riding, horse racing, rowing competitions, and participating in social assistance...no longer important to have advertisements in the 40s. What is important is the United States
  6. ^ a b Ikeda, Shinobu (2008). "The Allure of a 'Woman in Chinese Dress'". In Croissant, Doris; Yeh, Catherine Vance; Mostow, Joshua Scott (eds.). Performing "Nation": Gender Politics in Literature, Theater, and the Visual Arts of China and Japan, 1880–1940. BRILL. p. 367. ISBN 978-90-04-17019-3.
  7. ^ Cunningham, Maura Elizabeth (2013). "Chapter 4: The Modern Girl in Motion: Women and Sports in Liangyou". In Pickowicz, Paul; SHEN, Kuiyi; ZHANG, Yingjin (eds.). Liangyou, Kaleidoscopic Modernity and the Shanghai Global Metropolis, 1926-1945. Brill. pp. 104–1057. ISBN 9789004263383.
  8. ^ Hu, Xinliang. "民国封面女郎 浮华时代的美学（上）" [The aesthetics of the floating girl era in the cover of the Republic of China (I)]. shaoxing.com. Retrieved 27 June 2018. 但从第139期复刊号开始，《良友》画报又找到了在时局附加的政治要求与个体审美品位之间的平衡点，那是一张身着戎装的封面女郎，名为《新时代之中国女性》。 [But starting with the 139th reissue issue, Liangyou pictorial again found a balance between the political demands attached to the current situation and individual aesthetic tastes, with a cover girl in military attire titled "Chinese Women in the New Era".]
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Media related to Liangyou at Wikimedia Commons

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