In the south there is Jammu. "The Soul of Mountains and Rivers - Southern China Oil Painting landscape research exhibition" (Shanghai exhibition) opened on December 26 at the Shanghai Oil Painting and Sculpture Institute Art Museum. The exhibition is sponsored by the China Oil Painting Society and the Hunan Normal University Southern China Oil Painting and Landscape Painting School Research Institute, organized by Jiangsu Phoenix Painting Material Technology Co., Ltd. and Hainan Southern Art Research Institute, and supported by Shanghai Oil Painting and Sculpture Institute.
This exhibition is the second stop after the first exhibition of the national tour exhibition in Xiamen. The exhibition selects nearly 110 representative works of landscape oil paintings by more than 90 oil painting artists across the country. The research exhibition sorts out the development of china's southern oil painting landscape in the past century, and shows the achievements of several generations of artists in the field of oil painting landscape unremitting exploration and practice.
Wu Guanzhong Taihu Lake Goose Flock Oil on canvas, 1974
Among the works on display, there are excellent oil painting landscape works such as oil painting artists Liu Haisu, Wu Dayu, Wu Guanzhong, Jin Shangyi, Zhan Jianjun, etc., as well as representative works of contemporary artists who emerged after the reform and opening up. Regarding the theme of the exhibition title "The Soul of Mountains and Rivers", Xu Jiang, vice chairman of the China Federation of Literary and Art Circles and vice chairman of the China Artists Association, said: "The mountains and rivers of the Chinese land stretch out, the chinese epic worship of mountains and rivers, the mountains and rivers of the cosmology since ancient times, and the mountains and rivers of the great poets... All of this urges today's Chinese oil paintings to draw nourishment from the mountains and rivers and build a soul with its wind god. This is the origin of the 'soul of the mountains and rivers'. ”
In fact, since the emergence of the Southern and Northern Dynasties landscape painting schools, there have been divisions of northern and southern landscape painting schools. Compared with the northern school of Li Cheng, Guan Tong, Fan Kuan and other panoramic, longitudinal and majestic northern landscapes opened up by the northern school, the southern landscape has always been adhering to the elegant and gentle and naïve and plain style. Dong Yuan and Ju Ran built a platform for the loftiness and elegance of southern landscape paintings; after the Sui and Tang dynasties, the southern Song landscape inherited the height of the Song Royal Painting Garden and became more secularized; the Yuan Sijia, especially Huang Gongwang, lit up the imprisoned Jiangnan culture; the Ming and Qing dynasties gave birth to great masters such as Wen Zhengming, Tang Yin, Dong Qichang, and Zhu Yun.
A hundred years of oil painting in the east, so that the "southern landscape" is clearly distinguished, not only gave birth to Zhang Daqian, Huang Binhong, Lu Yushao, Fu Baoshi and other traditional Chinese painting landscape masters, oil painting southern landscape banner also greeted the wind, Lin Fengmian, Wu Guanzhong, Liu Haisu, Su Tianci, including Chen Yifei, Pan Honghai, who depicted jiangnan style, painted the landscape into a classic Chinese national style oil painting.
Over the past hundred years, while forming a certain collective style and symbol of Chinese oil painting landscape, it has also vividly expressed the naïve taste and bland elegance of southern oil painting landscape, and has its own charm. How to deepen the results in theoretical support, the overall style of the genre, and the exploration of modern and contemporary times has become a consensus for seeking new ideas.
Wen Lipeng Symphonic Blue White Black Acrylic on canvas 2007
Many oil painting landscape artists believe that more attention should be paid to the expression of spiritual connotations, poetic rhymes and international visions. The spirit of Chinese landscape is passed down from generation to generation, and the key is how to break through and how to creatively express it, so that the style of "Southern Landscape" works is more distinct and closer to the peak of art. Since July 2013, dozens of oil painting artists from Anhui, Fujian, Guangdong, Guangxi, Hainan, Hunan, Jiangsu, Shanghai, Zhejiang, Sichuan, Chongqing, Yunnan and other provinces, autonomous regions and cities have formed a landscape painting research group in the name of "South".
Zhang Xiaoling, former vice president of the National Academy of Painting of China, believes that in the southern oil painting landscape research group, the concept of "south" has been amplified, and it covers a much wider area. "The vast areas south of the Qinling Mountains and the Huai River have been incorporated into the concept of 'south' by artists. Here, the subject matter resources that artists can use are almost inexhaustible. The expansion of the concept of "South" has not only brought about the increasing abundance of subject matter resources, but also brought about revolutionary changes in the aesthetics of southern oil painting landscapes. "Originally, it belonged to the aesthetic categories of the sublime, magnificent, majestic, majestic and other aesthetic categories of the northern landscape, and gradually entered the aesthetic system of the southern oil painting landscape." Zhang Xiaoling said.
In the view of the exhibition organizers, this exhibition is a display and review of China's century-old oil painting landscape, and it is also a review and examination from an academic point of view. Such concentrated combing, concentrated display, and collective thinking will be conducive to the re-departure of Chinese oil painting landscape creation.
The Shanghai exhibition will be on view until January 7, 2022. After the end, the exhibition will continue to tour Hainan, Jiangsu and Beijing.