♪ ♪ DORA FUGH LEE: "In each recent generation of the Fugh family, at least one child was encouraged to become an artist or calligrapher to learn from older masters and absorb their skills and techniques.

In my era, I inherited that artistic legacy.

But this was a time of tremendous changes for China.

Those changes influenced my life's direction, and its expression in art."

NARRATOR: Dora Fugh Lee is a Chinese-born fine artist who lives in the Washington, D.C. area.

Her paintings, like her life story, are a journey across cultures.

Dora was born in Beijing in 1929, the second daughter in a family of six.

As a child, she absorbed the traditions of a Chinese aristocracy that no longer exists.

The Fucha clan, Dora's ancestors, were a noble family, one of the most powerful families of the Qing dynasty.

Her immediate family members were direct descendants of the Empress Xiaoxianchun, the wife and Empress Consort of Qianlong, the Qing Dynasty Emperor who ruled China from 1735 to 1796.

The Qing dynasty was dissolved in 1911 and China's last emperor abdicated in 1912, ushering in a time of tumult and rapid change.

Dora was born into a period of war, occupation, and revolution.

As a child she lived through the second Japanese invasion of China, the Japanese occupation of Beijing... GROUP: Banzai!

NARRATOR: And World War II.

Then came the failed mediation between the Chinese Nationalist Party and the Chinese Communist Party which led to the Chinese Civil War.

The political landscape was difficult for Dora's father and grandfather, who were known as progressive thinkers, influenced by the Western world.

In the early 20th century, her grandfather Fu Rei Qing shaved off his queue also known as braid to demonstrate his commitment to a new and progressive China.

Later, Dora's father Philip do nned Western-style clothing, became a Christian, and legally changed the spelling of the family's last name from FU to FUGH.

He did so, so no one would be insulted when asked to spell his last name in English.

With the relentless political changes in China during the early 20th century, suspicious eyes began monitoring the Fugh family's every move.

In 1937, after the Empire of Japan launched their second strategic invasion into China, su rveillance increased.

In 1941, Philip Fugh was placed un der house arrest because of the anti-Japanese activities organized and carried out at Yenching University, where he graduated and worked.

DORA: "On the same morning that the Japanese Air Force bombed Pearl Harbor there was a hurried knock on the brass doorknocker at our front gate.

It was a group of uniformed soldiers from the Japanese Military Police headquarters.

They informed Father that he could not leave our house without their permission... From that day forward, until the end of the war, Father lived as a prisoner inside our gates.

In those days, the Japanese military police would randomly come to search our house and take Father to their headquarters for interrogation.

Every time he was taken away, we never knew whether he would be beaten, tortured, or whether he would come back alive."

NARRATOR: The family limited their movements to only necessary outings such as grocery shopping, attending school, and on a very rare occasion, going to church.

Despite these challenges, the Fugh family was able to create a peaceful, almost serene home life.

Dora's multigenerational family lived in a large courtyard complex in Beijing's western district in the Brick Pagoda Hutong neighborhood.

The Hutong neighborhoods were constructed during the Yuan dynasty, 1260 to 1368, when the Mongolians first captured and ruled all of China.

The term is derived from the Mongolian word "Hottog" which means "water well".

The neighborhood is believed to be one of the earliest residential areas in modern Beijing.

Dora's grandparents were a constant presence in her childhood and remained in her mi nd's eye throughout her life.

At the family dinner table, lessons were learned by observing her elders.

Their subtle teachings became a significant part of Dora's moral compass.

DORA: "For years, the three generations of our family had dinner together in the dining room.

It was not a spacious room, but long and wide enough to accommodate an extra-long table that seated as many as eight adults and eight children."

NARRATOR: Dora's education dr ew on Chinese and Manchurian practices and principles and her religious upbringing included both Confucian and Christian teachings.

She was able to attend Catholic school during the Japanese occupation as they di d not place any restrictions on students who attended there.

An important part of her education was art and calligraphy.

From the time of her gr eat-grandfather, Fucha Wohe, one person in every generation of the Fugh family would be trained to excel in painting, calligraphy, or literary composition.

Early in her life, Dora's ta lent for these art forms was evident and she soon became the he ir apparent in her generation.

She learned traditional Chinese calligraphy from her grandfather and she was the only child allowed to watch him work in his study.

DORA: "Grandfather taught me calligraphy when I was probably of pre-school age, for I could barely reach his writing desk while seated in his chair.

He taught me how to hold the brush in the proper way and how to apply each brushstroke.

Grandfather loved insects, as well as plants and flowers.

I sometimes copy his drawings of orchids, butterflies, and dragonflies, that he caught to serve as models for his painting."

NARRATOR: Dora started her formal art training with Zhao Mengshu, a renowned Chinese painter.

As a teenager, she joined the then-famous Snow Reed Painting Society and studied with Master Yan Shao Xiang, the first master of the, "Song Feng Painting Order".

When under the tutelage of Master Yan Shao Xiang, Dora developed a strong fo undation in classical Chinese watercolor and calligraphy.

Works by Dora and three of her cl assmates became widely known in Beijing art circles.

They were often referred to as the "Four Female Disciples of Yan".

For almost 50 years, Dora's father had been close friends with the noted American missionary and Yenching University founder and president, Dr. John Leighton Stuart.

They first met when Dr. Stuart wa s a teaching professor at the Nanjing Theological Seminary, where Dora's future father-in-law was president.

Dr. Stuart's lectures about cr eating a new China resonated throughout the country.

Dr. Stuart inspired and co nvinced Dora's father Philip to enroll at the University.

It was there that Dr. Stuart took an interest in mentoring Philip and over time the friendship between the two grew closer.

DORA: "It is a Chinese custom to respect older people and since Dr. Stuart and my grandfather were the same age, it was proper that we address him as "Grandfather".

We eventually just called him Grandpa Stuart."

NARRATOR: Dr. Stuart was appointed U.S.

Ambassador to China in 1946 and Philip Fugh became his co nfidante, aide, and advisor.

But then, in 1949, came China's civil war.

Philip realized that his work with Ambassador Stuart put not only him but his whole family at risk.

Two of his daughters were al ready in the United States... Dora's older sister Aline was studying in New York, and her younger sister Helen ha d married an American soldier and was living there with his family.

Philip began to make plans for the rest of the family.

They would have to leave th e country at different times to avoid any suspicion and confrontation.

In 1949, Ambassador Stuart and Philip left China for the United States settling in Washington, D.C.

The Fu elders, Dora's grandparents, decided to stay in their home in Beijing.

Her grandfather did not want any of the family to leave China, however, it was for their own safety.

So, for the time being, Dora remained in Beijing with her grandparents.

DORA: "My mother told me that my grandfather had refused to leave their home.

Grandfather said he had lived through China's many changes, from the fall of the Qing dynasty, through the chaotic times of the warlords, through the fledgling Republic, the Japanese Occupation, and now the civil war and the Communists.

He told Mother that he and the rest of the family would stay in their home in Beijing until the last wave of the political upheaval was over.

He will wait, looking forward to the day when we would all return home."

NARRATOR: Dora's mother and br other John were able to leave China via Hong Kong just be fore the establishment of the Peoples Republic of China and then joined Philip in Washington, D.C. John Fugh later became the first Chinese American to attain the rank of General in the U.S. Military and was appointed Judge Advocate General of the U.S. Army.

Dora's own journey took a different path.

Earlier, during China's civil war, Dora met Richard "Wenhan" Lee.

Her father Philip was a friend of Richard's father, Dr. Handel Lee.

In 1948, they arranged an introduction, in hopes that Dora an d Richard would fall in love, get married, an d get out of war-torn China.

Their hope became reality and on April 25, 1949, Dora and Richard were married.

Four days later they fled to Tokyo where they would start their new life together away fr om China's internal struggles.

Little did Dora know that this wo uld be the last time she would ever see her grandparents.

DORA: "On April 29, 1949, Richard and I left for Tokyo on an airplane that General Zhu, a close family friend, had arranged for us.

We left with one small suitcase and a $20 dollar bill that my mother had given us.

It was difficult to leave but in such a chaotic time we had to cope and think of nothing else, except what might happen the next day.

Mother said to me, "You go.

It's better to go to Tokyo.

It's more stable a place now that the Japanese surrendered.

It would be best to send letters to Beijing where your Grandparents are."

NARRATOR: For the newlyweds, their goal was to reach the United States.

But that would prove difficult.

Despite the recent repeal of the Chinese Exclusion Act, a U.S. law that had prevented people from China to legally enter the United States, the new annual immigration quota for China was only 100 people.

Obtaining entry to the U.S. would take years.

Once settled in Tokyo, Dora worked as an illustrator fo r the United States Army and continued painting on her own.

Then, one day she met Prince Pu Ru, renowned literati artist, elder cousin to China's last Emperor Pu Yi, and an old friend of her grandfather.

The Prince soon became her mentor and she continued painting under his guidance almost every day as his only protege student in Japan.

She was inspired by his passion fo r Chinese painting and calligraphy as well as his wisdom and expertise.

She called him "Pu Shur", a term of respect.

DORA: "During our first session Pu Shur said to me" PRINCE PU RU: "Dora, if you will learn painting with me, we'll start with landscape painting.

Once you are familiar with the various brush techniques in landscape painting, other types of paintings such as plum blossoms, orchids, bamboo.

chrysanthemums, figures and so on will become easier because of the similar methods.

Dora, I think you learned Kai Shu calligraphy when you were young.

Do you know Xing Shu as well?

We might not meet again.

Do practice more of what I taught you.

Learning to paint step-by-step is like a child learning to walk, can't be rushed.

I have taught many students, and I can foresee their futures.

You have learned so well.

No matter how you develop your art in the future, I am very confident that you will stand out and achieve great heights in your artistic journey."

DORA: "Whenever people mention Pu Shur, my memory always goes back to those cherished days in Tokyo when I was under his tutelage.

I can see his faint smile and hear his encouraging words echo vividly in my mind."

LAWTON: "Dora Fugh Lee was one of the young artists who had the good fortune to study with Prince Pu Ru.

The paintings he prepared specifically for their classes epitomize his characteristic intellectual elegance while also providing specific technical challenges.

If you compare his compositions with Dora's paintings you'll see both his approach to teaching and his student's ability to meet the various artistic challenges... Dora is considered one of his most talented students."

NARRATOR: In February 1957, after 8 years of constantly applying for entry to the United States, Dora and Richard were fi nally allowed to leave Tokyo.

Their destination, Washington, D.C. Dora had not seen her family for nearly a decade.

All of the people she loved de arly were now gathered in the same place to welcome Dora and Richard to the United States.

Even Grandpa Stuart was there.

He had suffered a stroke which le ft him partially paralyzed.

Since 1949, Dr. Stuart was cared for and lived with Dora's parents.

Dora loved living in Washington, D.C.

The airy feel, the sp aciousness, the wide streets, there was so much green and light, everything felt bright and welcoming.

She felt an immediate sense of freedom as if she could finally breathe.

One of the first things she no ticed were the buildings and their architecture, their beauty, design, and majestic presence.

In a way, it reminded her of Beijing.

Life in the United States was very different from life in China or Japan.

For one thing, there were no servants or extended family to help and lend a hand.

Everything was new to Dora.

Her Mother had learned and taught Dora simple domestic skills such as cooking, cl eaning, laundry, and mending.

Dora taught herself to use he r mother's sewing machine and even learned to drive a car.

She mastered each one of these ta sks with great determination.

Dora and Richard settled in to a routine at her parent's home in Washington, D.C.

Eventually, they got a place of their own nearby.

Shortly after that, they started a family with the birth of their daughter April.

One day, while out for a walk in the neighborhood, she met an older Chinese gentleman, Dr. K.P.

Kuo, author, educator, and former President of one of the ea rly Nanking universities.

He knew her family back in China as well as her mentor Prince Pu Ru.

Soon after this chance meeting, Dora was invited to hold her first exhibition in the U.S. at the Chinese Cultural Institute in Washington, D.C. where Dr. Kuo was president.

It was Dora's introduction to D.C.'s artistic community.

In 1960, Dora gave birth to another daughter, Sarah, and in 1961, she gave birth to her son, Handel.

In 1963, she became pregnant again and bore a third daughter, Helen.

Her husband Richard took a job in New Jersey and the family lived there for three years.

Dora cooked, cleaned, cared for her husband, and raised four young children all the while continuing to paint.

She even had two solo exhibitions of her work.

One at the China Institute in New York City and the other at the Swain Gallery in Plainfield, New Jersey.

DORA: "Though I now had my hands full with four young children, somehow I always tried to manage to have a table ready with paper, brushes, and color.

If I could spare even a few minutes at any hour, I would pick up the brushes to practice calligraphy or basic painting exercises.

Other times, I tried to sketch the children or any object while they were taking their naps."

NARRATOR: Dora was delighted when the family moved back to Washington, D.C. A busy American homemaker, she continued to make sure she had enough time to paint.

Often, after picking up the kids from school, she would have them sit in the back of the car doing their homework while she sketched or painted local sights for an ho ur or so before rushing home to make dinner for the family.

Dora loved painting and sketching Washington, D.C's majestic buildings and cityscapes.

She wanted to learn how to paint using oil so she taught herself by studying the Impressionist masters.

To perfect her technique she became a copyist at the National Gallery of Art, and she painted while her children were in school.

As her experience grew, Dora's work began to get noticed in D.C.'s art circles.

She never stopped learning, and took oil painting and sculpting lessons from the world-renowned It alian artist Pietro Lazzari.

As Dora's reputation grew as a fi ne artist with an enchanting and unique style, people began to purchase and collect her art, first from the Stoneman Gallery an d then from the Franz Bader Gallery.

Gallery owner Franz Bader played a key role in her recognition and acclaim in D.C's artistic community and national fine art circles.

Washington Post art critic Be njamin Forgey reviewed Dora's 1983 showing at the Franz Bader Gallery.

FORGEY: "Her watercolor technique combines the controlled freedom of oriental brushwork with a knowledge of western painting... this deft mix of urban subject matter and an unusual technique... graceful brushwork, sometimes reinforced with quick strokes of the pen, a very liquid medium, luminous colors and the surface bounce of unpainted paper showing through... produces highly personal and thoroughly enjoyable city views."

NARRATOR: By popular demand, Dora found herself teaching.

At first, she taught friends by giving private lessons in the basement of her home.

She then taught watercolor and ca lligraphy to small groups and went on to teach calligraphy at George Washington University and traditional Chinese watercolor painting at the Smithsonian.

KRAUTHAMMER: She taught out of her Bethesda home, which was largely devoted to family life, but with a basement studio of her own.

My lessons would be taken with three other ladies, who were also interested to learn from her, and we met very often thereafter.

It was the warmest atmosphere in which to learn from a great teacher, someone deeply knowledgeable but also with a natural gift for teaching and an aesthetic and a love of Chinese painting which was supreme.

NARRATOR: Dora was invited to show her work in numerous cities.

She had dozens of solo exhibits th roughout the United States, Canada, Western Europe, and Asia.

She received more than 50 awards for her watercolor paintings, calligraphy, and sculptures.

Dora's work covers many su bjects, however, a recurring theme is the cityscape ar chitecture of Washington, D.C. DORA: "Since leaving mainland China years ago, Richard and I have lived in many places.

Most of these places were merely locations and their impressions on us soon faded after we moved on to another place.

But Washington, D.C., with its graceful architecture and rich history, intrigues me more and more, each year that I live here.

My fondness for this city has grown into an enduring love for it.

As often as I can I try to make a record of the most beautiful and meaningful buildings by painting them."

NARRATOR: Dora's work is part of the permanent collections at the Smithsonian Institution's Na tional Portrait Gallery; National Museum of Asian Art; the Smithsonian Castle; and the National Museum of Women in the Arts.

Her paintings also hang in renowned institutions and private collections around the world.

LAWTON: "Though Dora Fugh Lee uses traditional Chinese materials... Brushes, ink, silk, and paper and continues to draw upon traditional Chinese themes, she paints Western subjects with an awareness of Western traditions.

The results are exciting and extremely personal.

From this fusion of two cultures, Dora has created a style that is entirely new and may well be indicative of what is yet to be another chapter in the history of Chinese literati painting."

NARRATOR: Dora began to slow down in her 80s and stopped painting at the age of 90.

Although she no longer paints, she continues to practice calligraphy.

In her art, as in her life, Dora Fugh Lee bridges East and West, traditional and contemporary, disciplined and free-flowing, in an elegance that is si ngular and uniquely her own.

To learn more about Dora Fugh Lee and her work, please visit the Heritage Series website, at www.heritageseries.us ♪ ♪ ♪ ♪