The exhibition "Mutual Learning among Civilizations – When the World Meets China" will be held at the Shenzhen Honxiang Art Center. The exhibition is sponsored by the Benxiang Art Center, co-organized by the National Cultural Trade Academic Research Platform, the French Chinese and Education Association, and curated by Li Yicheng, using art creation and art collection to depict the fusion and mutual learning of civilizations, and the beauty of Eastern and Western cultures.
The barrier between the plateau and the ocean does not hinder the exchange of culture and materials, from the red and green colored porcelain of Song Jin to the red and green colored porcelain exported to the world in the Ming and Qing dynasties, to the grass paintings of the Qing Dynasty with various Chinese figures and folk patterns. From the birth of Shakyamuni in religious culture, the stone sculpture of gandhara Buddha with Roman columns, Angkor, the statue of the Sukhothai Dynasty, the Silk Road painted by Ikuo Hirayama, the copper engraving of Leonardo da Vinci's "Virgin and Child and Santa Ana" produced by the Museum of France (Louvre) in the early 19th century, the attempt to integrate ink and drawing, the relationship between European drawing and Chinese ink painting, as well as the layered black and white photography, the flying sky created by Japanese artists in the early twentieth century, and the religious painting re-creation of contemporary artists.
Imagine The ancestor of Daitoku-ji Temple in Japan, the founder of Longguang Temple, Jiang Yuezong, this person with deep roots in Chinese culture, one of the three major Celestial Eye Cups that has been handed down to the world is clearly the owner of the record, and at the same time, a large number of Treasures of Chinese culture have been preserved in this Longguang Temple. In today's exhibition, Jiang Yuezong's calligraphy and a Song Dynasty tea cup meet again across time and space.
In fact, the emergence and dissemination of cultural trends in history is easy to ignore is that ceramics as the carrier of visual trends, and its radius of dissemination is as long as history. In the Qing Dynasty, a unique Chinese art species ~ Tongcao painting, it as a very special type of art trade also spread the image of China to the outside world, and even we can spread the image of the 18th and 19th century European books and prints, many of which are from tongcao painting. Trade porcelain and grass paintings, the patterns they carry, are in fact the same material trade that builds the world's understanding of China. And red and green color porcelain or there is a deeper meaning, from the Song gold red and green color, to the Great Ming red and green color, as well as Japan, Annam and other places of red and green color porcelain, Japan's ancient Imari ceramic industry, grass house tea ceremony and Japanese cuisine utensils, modern GUCCI clothing design style, all reflect this thousand years of visual trends, they are still alive today.
The spread of religious culture is also on the specific material carrier, the Gandhara statue at the intersection of the East and the West, the understanding of the western statue brought into the East, the southern Silk Road has the Buddha statues of the Angkor Dynasty and the ancient Thai Sukhothai Dynasty, showing another path of development, the Buddha statue with the spread of Buddhism will connect the communication between the south and the East and the West, the flying goddess created by the Japanese artist Itakura Akatsuki in the early twentieth century (his representative work is a mural in the historical building, The source of the mural in the Spirited Away Yuya) turns the traces of Dunhuang across the ocean into the form of a screen. The combination of ancient and modern is the main direction of this exhibition. Lin Guocheng and Su Jiaxi's Luohan paintings, Liu Hejiao's "Virgin Mary" for image segmentation and re-creation, Deng Chenhui's photography and Lin Guocheng's landscape works are pointing behind the lens and brush, facing the natural human heart, and this human heart in the modern urban context, in the historical traces of emerging urban life, the relationship between China and the world, mutual learning and development How to get a more perceptual understanding?
The use of art to describe the encounter between history and civilization in modern urban life is the core theme of this exhibition.
The disappearance of no civilization is not painful, and Chinese civilization has always been on the seashore called history, and its art is like a shell that has been picked up, listening to the ebb and flow of the tide, or tragic or beautiful. Today in this vision, we watch together ——— when the world meets China.
Some of the exhibited works:
A copper engraving of Leonardo da Vinci's Virgin and Child and Santa Ana from the Musée de France (Louvre) at the beginning of the 19th century
Qing Dynasty Export Tongcao Painting (1800-1860)
Qing Dynasty ExportEd Grass Painting - Cruise Ship (1800-1860)
16th-17th century Zhangzhou red and green color plate
18th-19th century Japanese Aoki rice color plate
16th-17th century Japanese Etsukijong play calligraphy
Lin Guocheng Landscape works
18th and 19th century Japan Saowaki Matsuyuki Golden Knife Biro worship picture screen
3rd century Gandhara Buddha statue
Bronze statue of Angkor from the 14th to the 15th century
Su Jiaxi works LuoHan tu
Deng Chenhui photography
Early 20th century Itakura Starlight, Japan
Nandu reporter Huang Qian