On December 24th, the art exhibition "Porcelain Rhyme Danxin - The Collision of Cai Xuanmin's Official Kiln Porcelain and Chen Qi's Calligraphy and Painting Works" was held at the C3M North Bund Art Museum in Shanghai.
"Porcelain rhyme Danxin", taken from the harmonic sound of "porcelain rhyme Danqing". The exhibition presents 30 pieces of Cai Xuanmin's official kiln porcelain and 30 calligraphy and paintings painted by Chen Qi as creative materials.
From planning, creation to exhibition, this exhibition lasted more than two years. This unique art exhibition is a new attempt by Cai Xuanmin and Chen Qi, two collectors and artists who have a long history of porcelain and calligraphy and painting art, to modernly express traditional Chinese culture in the current context.
Qingqianlong Qinghua Guqin, "Qingju Afterglow"
National treasure grade porcelain "looking" for the right painter
Cai Xuanmin is currently the Special Dean of the School of Ancient Ceramics Art of Ningbo University and the Dean of the Huaxia Ancient Ceramics Science and Technology Research Institute. Its collection was selected as the main venue of the 2016 G20 Summit, the main venue of the Xiamen BRICS Summit, the main venue of the two CIIE and the main venue of the first Beijing Service Trade Fair.
The thirty top official kiln porcelain in this exhibition are all national treasure-level porcelain lost by Cai Xuanmin in the Yuanmingyuan Forbidden City, which was repurchased in Europe, with a total value of no less than 2 billion yuan. They are also Cai Xuanmin's favorite top collection.
When buying back this batch of national treasure-level objects in Europe, Cai Xuanmin asked the other party to go through the public auction channel, so that the artifacts returned to "circulating in an orderly manner", corresponding to the ancient book records "well documented".
In the collection and collation, he slowly formed an idea, selected the top official kiln ware in his collection, found an excellent calligraphy and painting artist, and used these official kiln porcelain as materials to re-create art and spread China's unique porcelain culture to today's audience.
"Ancient Chinese ceramics, especially Yuan Qinghua, are inextricably linked to Chinese painting and calligraphy." Five years ago, Cai Xuanmin had an idea, "I selected 30 top official kiln ware collections, found a calligraphy and painting artist, and restored and created thirty pieces of official kiln porcelain from previous dynasties, but it was not simply copied - painting the original appearance of porcelain, it lost its meaning." ”
In Cai Xuanmin's view, it is necessary to draw a charm. In this way, in addition to having a certain degree of awareness of the porcelain of the official kilns of the past generations, the painter can also use pen and ink and color to extract their inherent charm. The painter must have a deep traditional calligraphy skill, and the brush and ink must be old and clumsy. ”
This idea has always been hidden in Cai Xuanmin's heart. At a Wuhan painting exhibition, he met the painter Chen Qi and felt that he had finally found the "right person".
It's not a simple drawing of a gourd
As a representative figure of Haipai calligraphy and painting, Chen Qi is currently the vice chairman of the Shanghai Artists Association and a director of the China Artists Association. His main green landscape work "Spring Breeze and the South Bank of the Green River" is a masterpiece of the main venue of the Expo; "White Magnolia" and other flower and bird folding fan group pictures were once presented as a national gift to the then US President Clinton for signature collection.
Chen Qi also studied the collection of ancient porcelain, and was also interested in the combination of official kiln porcelain and Chinese painting and calligraphy. At the beginning of their acquaintance with Cai Xuanmin, the two hit it off on the concept of collision between official kiln porcelain and calligraphy and painting art.
In order to create the works in this exhibition, in the past two years, Chen Qi has gone to Jingdezhen no less than ten times to create, research and practice, paint hundreds of blue and white, glazed red porcelain, and visit the Jingdezhen Ceramic Museum and ancient kiln ruins many times. From conception to creation, Chen Qi changed his manuscript several times and kept improving.
This kind of creation is not to draw a gourd in the same way, how to grasp the relationship between the spirit of the object and the subjective feelings? How to grasp the relationship between porcelain characteristics and personality style? How to grasp the relationship between artistic creation and artistic re-creation? These are all problems that Chen Qi needs to think about and solve in her creation.
"Porcelain of every era has its characteristics, and I encountered a problem when I created the Qianlong imitation mahogany barrel in the Qing Dynasty." Chen Qi said. At the beginning, his idea was to adopt the display method in the Yuanmingyuan, drawing a shelf in the picture, hanging the barrel of the work on the shelf, and painting ginger flowers and rockeries at the bottom of the picture. "After the first draft came out, I always felt a little reluctant, after discussion and analysis, the meaning of the royal imitation mahogany barrel porcelain work is 'unifying the rivers and mountains, the rivers and mountains are eternally solid', it is better to use green landscapes to express the original meaning of the porcelain." Finally, he painted "Jiangshan YongguTu", and the connotation of Chinese painting and porcelain organically matched.
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This form of combining calligraphy and painting creation with porcelain is the first, for the creator, it is a creative experience and a process of practice, and it is an artistic re-creation from the heart on the basis of the artistic creation of the ancients.
Before the creation, Chen Qi first studied and sorted out the porcelain, understood the characteristics, historical background, and evolution process of the porcelain, and tried to focus on the traditional calligraphy and painting form in conceiving the entire exhibition framework and display method, and the picture was set to 2.1 meters in length, 0.6 meters in width, and 30 works with unified specifications. The mounting method of calligraphy and painting is the traditional court mounting technique and mounting style, and even the decorative shaft head is specially drawn by him in Jingdezhen according to the content of each work.
The critic Jiang Hong once wrote, "The vitality of Shanghai lies in innovation, and the vitality of Shanghai painting is also innovation, creating a vivid style and achieving a creative painter." ...... I believe that the more painters like Chen Qi, the wider the world of Shanghai painting and the more brilliant the starry sky will be. ”
Wang Yonghao, vice chairman of the China Literary and Art Critics Association and vice chairman of the Shanghai Federation of Literary and Art Circles, believes that "Mr. Chen Qi was invited to create 30 masterpieces this time, and 30 pieces of porcelain masterpieces that were 'circulated in an orderly manner' were exhibited at the same time, which is nothing less than a self-challenge, and the 30 calligraphy and painting works he created this time 'convey the charm and beauty of porcelain in detail'. ”
During the exhibition, corresponding commemorative stamps and commemorative transportation cards with these 60 works will be launched at the same time for the audience to keep as a permanent souvenir.