Folk art research is inseparable from the accumulation and down-to-earth, and it is necessary to do a good job in the basic work represented by field research, and it is necessary to "go to the people".
On December 28th, "Go to the Folk – Pan Lusheng Folk Art Exhibition" will be open to the public in the South 2 (S2) Exhibition Hall of the National Museum of China. The exhibition is sponsored by the National Museum of China, the China Artists Association, the Chinese Folk Writers Association, and hosted by the Shandong Provincial Federation of Literary and Art Circles and the Shandong Academy of Arts and Crafts.
Exhibition hall scene Photo: Yu Guanchen
The exhibition takes The Folk Art Collection, Folk Art Research and Artistic Creation of Professor Pan Lusheng, President of Shandong Academy of Arts and Crafts, as the main body, and exhibits more than 500 pieces (sets) of traditional folk art works and contemporary art creations, comprehensively displaying the collection, research and transformation and development of folk art in contemporary art creation, and vividly reflecting the value pursuit of contemporary folk art workers to take root in the folk and inherit ingenuity.
Nandu reporter saw at the exhibition hall site that the exhibition is divided into five parts: walking thousands of miles, pearling and silk picking, topfunaling, chasing light and color, and inheriting ingenuity, mainly including folk art collection, folk art research, and artistic creation.
Baifu Biao zhen (fiber hand embroidery, Pan Lusheng, 2006, 120x240cm)
Qianxiang Yunji (Fiber Hand Embroidery, Pan Lusheng, 2006, 120x240cm)
The first unit, "PearlIng and Picking Silk", starts with the exhibit "Baifu Zhen Qianxiang Gathering", which includes two parts: "From Point to Surface" showing traditional Chinese folk embroidery craftsmanship and Pan Lusheng's hand-embroidered works, and "square inch longitude and latitude" showing traditional textile technology, woodworking technology and Pan Lusheng's linear works.
Wugu Fengdeng (fiber hand embroidery, Pan Lusheng, 2006, 120x240cm)
Wind and rain (fiber hand embroidery, Pan Lusheng, 2006, 120x240cm)
The second unit, "Tuofu Na Ling", starts with the exhibit "Five Grains Fengdeng Wind and Rain", which includes two parts: "Printing and Engraving Years" showing the traditional Chinese printing and engraving process and Pan Lusheng's New Year paintings and woodcut works, and "Porcelain Rhyme Flowing Hua" showing the traditional porcelain painting process and Pan Lusheng's porcelain plate painting works.
Fuhu Town House (Fiber Hand Embroidery, Pan Lusheng, 2006, 120x240cm)
Phoenix Laiyi (Fiber Hand Embroidery, Pan Lusheng, 2006, 120x240cm)
The third unit, "Chasing The Light and Chasing the Color", starts with the exhibit "Fuhu Town House Phoenix Laiyi", which includes the "Fun of Light and Shadow" showing folk paper-cutting art, shadow puppet art and Pan Lusheng's "Shadow" series of works, and the "Colorful Color" showing the traditional Chinese color printed cloth and Pan Lusheng's color ink works.
The preface of the exhibition, "Walking a Thousand Miles", introduces Professor Pan Lusheng and his team to consciously adhere to the people-centered work orientation, take "enhancing foot, eye, brain and pen strength" as the criterion, through the folk field research work that has traveled all over the motherland, "go to the people" to discover, excavate, collect and record the physical specimens of China's excellent traditional culture, and deeply study the cultural spirit that is contained in it and is endless. The concluding phrase "Inheritance of Ingenuity" introduces Professor Pan Lusheng's folk art teaching work as a teacher and his exhibition and exchange activities as an artist, and shows his nationwide investigation of traditional folk crafts, ethnic minority crafts, and contemporary creative expression inspired by them, as well as academic works full of his team's research achievements over the years.
This exhibition adopts the method of integrated display of folk art collections and art works, which more intuitively allows the audience to feel the deep nourishment brought by traditional folk art to the creation of contemporary art, as well as the vitality and vitality brought by contemporary art creation to the inheritance and development of traditional Folk Art in China.
At the same time, the traditional folk art collections exhibited in the exhibition involve Shandong, Shanxi, Shaanxi, Jiangsu, Henan, Hebei, Sichuan, Chongqing, Guangdong, Hubei, Tianjin, Jilin, Ningxia, Xinjiang and other regions of the country, including traditional embroidery, textile, woodcut, printing and dyeing, New Year paintings, clay sculptures, paper-cutting, porcelain painting, shadow puppetry and other rich craft categories, but also shows the field research, teaching, exhibition activities led by Professor Pan Lusheng photo and video, the footprint map he has walked, and the published representative academic research results. Reflecting the "go to the folk" traditional folk handicraft protection work should be nationwide, is oriented to the more vast Land of China, the Silk Road mountains and rivers, the rescue, protection and promotion of traditional folk arts and crafts, need to broaden the vision and mind, but also inseparable from cultural exchanges, integration and innovative development.
Since it was held on the occasion of the Spring Festival in the Year of the Tiger in 2022, the three main units of the exhibition were displayed with folk artworks related to the "tiger". This is not only an intuitive expression of traditional folk art derived from people's lives and warming people's hearts, but also a powerful proof that the traditional folk art elements represented by the "tiger" have been renewed and continuously inherited over the long years. I hope that this exhibition will accompany the audience to spend a happy and unforgettable Spring Festival.
The rollover is expected to be 2 months.