Text, photo/ Yangcheng Evening News all-media reporter Zhu Shaojie correspondent Li Kaiyu
A few days ago, the "Art Sea Collection - Exhibition of Paintings from the Past Dynasties of the Guangzhou Museum of Art and Landscapes" sponsored by the Guangzhou Museum of Art was officially launched at the Chinese Painting Museum on the first floor of the Guangzhou Museum of Art, and the exhibition will be held until November 20.
The exhibition exhibits 51 pieces/sets of fine works collected by the Academy of Fine Arts, 90 pieces of physical objects, and eight have become national first- and second-class cultural relics, especially highlighting some collections that have been rarely exhibited in recent years and the author's popularity is not low but the artistic standard is not low, and strives to more comprehensively display the fruitful collection results of the Academy over the years.
This exhibition opens the prelude to the Guangzhou Museum of Art's "Luhu Period" series of retrospective public and academic activities. The construction of the new Guangzhou Art Museum, located south of the Canton Tower, is advancing in an intense and orderly manner.
At present, the Art Museum is also constantly sorting out the collection and making preparations for the completion of the new museum. This exhibition is the first phase of the series of fine paintings from the past dynasties held by the Academy, which will be held, and the theme exhibition of figures, flowers and birds will be launched next.
Masters gather, masterpieces gathered
In the exhibition "Art Sea Treasures", a number of masterpieces of different historical periods, styles and genres are exhibited, reflecting the diverse artistic outlook of traditional Chinese painting, as well as the painter's rich creative career and life situation.
The fan page of "Yun shan Tu" was donated by Mr. Rong Geng, a collector, and was originally the second page in the booklet of "Song and Yuan Famous Paintings". The original booklet had eight pages, of which the sixth, seventh and eighth pages were given to his friends Xie Zhiliu, Chen Peiqiu and Li Xiongcai respectively, and the remaining five pages were donated to the Guangzhou Art Museum (now the Guangzhou Museum of Art). This volume was once owned by Ren Zhenting (a collector during the Republic of China period), the owner of the Pavilion.
Rong Geng said in the "Supplement to the Records of The Ode to the Paintings and Calligraphy" that in the whole book, what he most appreciated was this painting on the second page. He believed that the fishing boat in this picture was similar to the painting in the "Fishing Village Sunset Illumination Map" (Fa Chang Zuo), so it was designated as Fa Chang Zuo", and named this picture "Fishing Map". Fa Chang, nickname Muxi, was a famous Zen monk in the Southern Song Dynasty, whose paintings had a great influence on Japan. In April 1999, after the appraisal experts of the State Administration of Cultural Heritage, it was believed that the painting was the work of a famous painter of the Southern Song Dynasty, so it was renamed "Yunshan Tu".
"Who knows?" The green shade is like a long day. The Daoist Wu is in the Bixi Stone, and his heart is idle with the creation", this is the withdrawal on Shen Zhou's "Cloud Mountain Map". The theme of "Yunshan" in Chinese paintings originates from the father and son of Mi Fu and Mi Youren in the Song Dynasty, and the "impermanent and common sense" Of Yunshan fully expresses the rainy and humid natural environment in the south, and also expresses the poetic experience of literati painters.
Shen Zhou, the head of the "Wumen Sect", also loved this subject, and had created many works with "Yunshan" as the main body. Compared with the "Rice Point Landscape", Shen Zhou's "Yunshan Map" is calm and thick, and the atmosphere is vast.
Wen Zhengming, together with Shen Zhou, Tang Yin, and Qiu Ying, was collectively known as the "Four Houses of The Ming Dynasty". Written at the age of 43, the "Dongzhuang Gathering Map" depicts the scenes of several friends wandering in the garden with a rough pen, and the layout of small bridges, water pavilions, garden walls, and distant mountains stretches out in an orderly manner, so that people can see the landscape garden of Suzhou about 500 years ago.
Wu Kuan was the eighth year of Ming Chenghua, the same as Wen Zhengming's father Wen Lin, and was Also Wen Zhengming's poetry teacher, so Wen Zhengming wrote in the withdrawal that "near Dongzhuang, there is a Huaixian teacher Wu Wendinggong, who gave a small poem and a humble map."
Wu Kuan's family was rich, and his ancestors had been working for generations to run a private garden garden, Dongzhuang, which was located in the area of present-day Soochow University, where Shen Zhou and Wen Zhengming often gathered.
The collision and innovation of painting reform
Traditional Chinese painting entered a period of intense change in the late Ming and early Qing dynasties. In the literati painting circle of this period, the "Four Monks", composed of four painters who were relatives and friends of Wang Shimin, Wang Jian, Wang Yi and Wang Yuanqi, and the "Four Monks", composed of four monk painters of Shi Tao, Zhu Yun (Bada Shanren), Hongren, and Jia Ren (Shixi), were two painting schools with very different styles, but their reputation and influence were very large.
The former, together with Wu Li and Yun Shouping, is also called the "Six Greats of the Early Qing Dynasty", which is generally considered to be the "Orthodox School", which re-imitates the ancient and summarizes the programming language of the past dynasties; the latter is regarded as the "Wild Yi School" and emphasizes nature. In fact, they have each carried out innovative explorations on the basis of tradition, and there are also exchanges between them, and there is no lack of mutual admiration.
The "Four Monks" are representatives of the ming relics painters in the early Qing Dynasty. The status of the remnants of the former dynasty made them reject the Qing Dynasty, and they chose to become monks because of fleeing persecution and other reasons. This contradictory mentality makes them pursue changes in artistic creation, attach importance to personalized expression and implicit expression of inner emotions, and leave a number of extremely strong artistic symbols in the Chinese painting world.
Among them, Hongren, as the founder of the "Xin'an School", "takes the true landscape of Jiangnan as the manuscript", the composition is simple and simple, the pen and ink are vigorous and clean, the style is cold and quiet, and the simplicity is far from the ordinary.
Comparing his "Landscape Atlas" in the exhibition with the "Riding a Donkey to See the Mountain Map" by another representative painter of the Xin'an Sect, You can see the influence of Huizhou culture in southern Anhui on Chinese landscape painting, and you can also feel the mood of the remnant painters to fight against the world with painting.
The shi tao's "Landscape Map" book on display in the exhibition is a total of eight open, or thick and moist, or long and quiet, or mottled, or misty with smoke. The withdrawal on the painting is also very wonderful, such as "The rain is also dripping with wind and the wind is also crazy, and the wind and rain are in the autumn." Idle to the pine window to take the meaning of rain, one day wind and rain paint autumn poems", "away from the grass deep sorrow, speechless with tears. Old age sad autumn nostalgia Song Yu, line to find a sentence to imitate Yilin", the painter's mood jumped on the paper.
"Cantonese Tradition" in Landscape Painting
The exhibition also features Cantonese folk painters such as Huang Bi, Li Kui, Rong Zuchun, Chen Shuren and Gao Jianfu, as well as masterpieces by painters such as Tang Yifen and Dai Xi who once lived in Guangdong or had deep roots in Guangdong, from which the audience can better understand the exchanges between the Guangdong painting scene and other regions in history.
Guangdong landscape painters named Yan Zong (1393-1459) as the earliest visible painting. By the end of the Ming Dynasty and the beginning of the Qing Dynasty, there were many painters, and the painting style at that time was deeply influenced by the Wu School.
In the era of Qing Yongqian, Guangdong painters wrote by Wang Hou, and integrated the characteristics of the Xin'an School into a personal painting style, and they had the merit of inheriting the upper and lower levels in the Guangdong painting world. The Chaozhou painter Huang Bi was influenced by the Zhejiang and Fujian painting styles, and the landscape figures were realistic and vivid, becoming a family of their own.
During the Qianjia period, benefiting from the development of economy and trade, the collection of calligraphy and paintings became a common practice, and the eyes of painters were wide open, among which Li Jian and Xie Lansheng were the most outstanding, and began to actively explore the establishment of the "Guangdong Landscape" pen and ink language and regional style, pushing the achievements of Guangdong landscape painting in the Qing Dynasty to the peak.
The painter is a famous artist of the Song and Yuan dynasties, who admires Shi Tao, and the Cantonese painting style has begun to take shape. After Daoguang, as Guangdong painters and Lingwai literati became more and more closely related, the "Four Kings" painting style became popular. Since the late Qing Dynasty, Li Kui, Liang Yuwei and other bold innovations have brought a new wind to Guangdong landscape painting.
Guangdong figure painting in the Qing Dynasty reached its peak in the hands of Su Liupeng and Su Renshan. Su Liupeng was skilled, and the painting materials were dismissed by the literati painters at that time, and the image of the commoners was strong in the countryside. Su Renshan is talented, with a profound tone, writing about the unevenness in his chest.
The two have a unique path in painting, which is the product of seeking new changes in the changes of the times and the reflection of the rebellious spirit. The exhibition also exhibits Su Renshan's landscape "Playing With Botu", allowing us to see the other side of this figure painting everyone's creation.
Combing the courtyard collection, relocation is imminent
In February 1957, the Guangzhou Municipal People's Government established the Guangzhou Museum of Art on the site of zhongyuan library in Yuexiu Mountain. In September 2000, the Guangzhou Municipal Party Committee and the Guangzhou Municipal Government built the Guangzhou Art Museum on the banks of the Luhu Lake on the basis of the Guangzhou Art Museum.
After half a century and several generations of unremitting efforts to collect and collect Chinese paintings, the collection of the Academy of Fine Arts is complete with masterpieces of different genres and styles in the history of art, with a total of more than 30,000 pieces, and the number of collections ranks among the forefront of art museums in China.
The collection category covers a variety of ancient and modern art forms at home and abroad, of which there are about 10,000 pieces of Chinese calligraphy and painting works in the past, accounting for nearly half of the total collection, dating from the Song and Yuan dynasties to the modern and contemporary, and the collection of fine works is the focus of collection, display and research of the Guangzhou Museum of Art.
Wu Bingli, curator of the exhibition "Art Sea Treasures", said that this exhibition hopes to break through the original model, "no longer all kinds of painting works are exhibited, at the same time, excavate some of the collections hidden in the deep boudoir, not familiar to the audience, but worthy of careful appreciation."
Wu Bingli said that from the perspective of the museum, perhaps the works of earlier age and orderly circulation are more researched, but other painters and their works have also constructed a rich and three-dimensional art history, allowing us to see the diversity of art.
Wu Bingli said that the whole tone of this fine exhibition is to comb the collection of the academy, excavate the collection, and do the basic work for the preparation of the opening exhibition of the new museum, "We also feel more and more truly that the new museum is getting closer and closer to us, which makes us feel that we must cherish every exhibition done at the current site of the Art Museum, because this will eventually become our common memory." (For more news, please pay attention to Yangcheng Pie pai.ycwb.com)
Source | Yangcheng Evening News • Yangcheng Pie
Editor-in-charge | Li Li