Since May 18 last year, the "e-Guanzang Daily One Beauty" column has been launched for one year, and 365 articles of the collection of the Jiangsu Provincial Art Museum have been presented daily, using pictures and texts to entertain readers. At the same time that the column was launched simultaneously on the "Learning to Strengthen the Country" Jiangsu Learning Platform and the New Jiangsu Client Cloud Exhibition Channel, the high-quality content was also included in the China Art Channel, the "Learning to Strengthen the Country" learning platform. It has received more than 32 million clicks, more than 5 million likes, and about 40 million radiated people. "Daily Beauty" has revitalized the collection of works, spread artistic value, carried forward the style of Jiangsu culture, and has been widely praised by industry experts and the broad masses of the people. It not only realizes the innovative exploration of culture and media, but also further demonstrates the charm of cultural and artistic communication. In order to better promote and disseminate this cultural brand, the Jiangsu Learning Platform of "Learning to Strengthen the Country" and the New Jiangsu Client of China Jiangsu Network decided to continue to carry out cultural resource exchanges and cooperation with the Jiangsu Provincial Art Museum, and continued to launch the second season of "e Guan Zang Daily Beauty" this year. Continue to push 365 days a year, beauty in every day! Let the artistic image of beauty, the wonderful moments of beauty, and the eternal spirit of beauty enrich and enhance the spiritual life of the people, so that the people of "strong, rich and beautiful" new Jiangsu will continue to move from material well-off to spiritual well-off.
This audio was co-produced with the Nanjing Recitation Association
This issue reads: Xia Jing, President of Nanjing Recitation Association
Jiangsu Provincial Art Museum Collection Appreciation Season 2(98)
Xie Haiyan,"Goldfish Water Lilies"
Wen 丨 Jiangsu Provincial Art Museum Wu Haoran
Xie Haiyan 《 Goldfish Water Lilies 》
Vertical scroll Color on paper
94.5x48cm
In 1960
Collection of Jiangsu Provincial Art Museum
Inscription
Petrels
Plutonium printing
Xie HaiyanYin (white text)
Appreciation
Xie Haiyan (1910-2001), formerly known as Xie Haiyan, was a native of Rongcheng, Jieyang, Guangdong. He graduated from the Department of Western Painting of the China University of the Arts in Shanghai in 1929 and later studied in Japan. Xie Haiyan has taught at Southeast United University, East China Art College, Nanjing Academy of the Arts, etc., diligently teaching and researching painting and art history, especially cooperating with Liu Haisu, Pan Tianshou, etc., working together for a long time, cultivating a large number of outstanding artists and theorists, and making outstanding contributions to promoting the development of modern and contemporary art education in China.
Xie Haiyan's painting creation is mostly Chinese painting, his artistic creation is elegant and full of life atmosphere, with a high artistic level, which not only shows his artistic talent and artistic accomplishment, but also benefits from his practice of art education, in the long-term teaching and scientific research creation process, he has widely collected, embraced and eclectic, and formed his own unique artistic insights and style characteristics.
Jiangsu Provincial Art Museum collection of "Goldfish Water Lilies", the work is full of fun, the picture of water lilies first blooming, light and pleasant coloring, the goldfish painted in a concise form, lively and fresh. The water lilies in the garden are green with green dots and black hooks, and the lotus flowers are dyed with pure white dots and bright yellow dots. The aquatic grass is made ethereal and faint with light green fragments. The green lotus leaves are pointed out under Xie Haiyan's pen to write out the thick and deep tranquility, which naturally blends into the emerald texture of the summer lotus pond and emits a pleasant artistic fragrance.
The fish moving downstream of Xie Haiyan's pen can even clearly distinguish between near and far, high and low, virtual and real, quiet and decent between ink and color, red scales and green algae, water light tail shadow, leisurely swimming. Goldfish are written with Danzhu and ink respectively, four white stripes and one red tail, vivid and vivid, and the shape is impressive. Its head is square, the tail fin is transparent, and the tail is fixed, light and soothing, graceful and colorful, coupled with bold finishing touches, so it is more three-dimensional. The whole painting is old and spicy with a pen, the posture is smart and subtle, the color and ink blend, and the denseness is exquisite, which achieves the magic of elegant and common appreciation.
Jiangsu Provincial Art Museum Collection Appreciation Season 2(99)
Xiao Xian , "Struggle for Life"
Wen 丨 Jiangsu Provincial Art Museum Yu Fan
Xiao Xian , "Struggle for Life"
Lenses on paper
138.2×55cm
In 1993
Xiao Xian, aged ninety-two.
Xiao Xian (Bai Wen), Zhi Qiu (Zhu Wen), Chang Nian (Zhu Wen)
Xiao Xian (1902-1997), zi zhiqiu, number metamorphosis, Guiyang, Guizhou, famous female calligrapher in contemporary China. You Chengting Training, Gong Poetry, Calligraphy and Painting, especially good at list books. In 1964, he was recruited as a librarian of the Jiangsu Museum of Culture and History, and in 1984, he was transferred to the Jiangsu Provincial Art Museum to engage in calligraphy creation. He has successively served as an honorary director of the Chinese Calligraphers Association, the vice chairman of the Jiangsu Calligraphers Association, and the honorary chairman of the Nanjing Calligraphers Association.
Xiao Xian studied with her father Xiao Tieshan since childhood. At the age of twenty, he moved to Shanghai with his father, and Kang Youwei, the standard-bearer of the Steles Study Movement, was deeply influenced by the introduction of his books from the seal, with the "three stones and one plate" (seal book "Scattered Disc", "Stone Drum Text", "Shi Men Song", "Shi Men Ming") as the foundation, fine seal and xing kai, especially good at big characters, the calligraphy style is magnificent and atmospheric, vigorous and thick, there is a tendency to not let the eyebrows be raised, and a new look of calligraphy with large characters has been opened up. After the founding of New China, Suifu Jiangda settled in Nanjing, and discussed art with famous calligraphers and painters such as Gao Ershi, Lin Sanzhi, and Chen Dayu, reaching a new realm of art, and was known as the "Four Elders of Jinling" with his outstanding artistic achievements with Hu Xiaoshi, Gao Ershi, and Lin Sanzhi.
The Jiangsu Provincial Art Museum's collection "Struggle for Life" is a representative work of Xiao Xian's calligraphy in her later years. "Striving for life" can be described as a true portrayal of Xiao Xian's lifelong diligence and unremitting pursuit. The overall shock of this work is strong and powerful. The eye-catching and rich inkblots are smooth and thick, showing a different Jiangnan charm from the northern epigraphy. The four large character knots are vigorous and tight, thick and full, the line pen is bold and slow, and the pen has a wanton rhyme. Although the appearance is childish, but the momentum is vibrant, between the hook and the dots everywhere let people feel the female calligrapher "in the chest of the hills, the eyes of the mountains and rivers" of the arrogance of the mind.
Jiangsu Provincial Art Museum Collection Appreciation Season 2(100)
Francis Chung "Autumn Elk"
Wen 丨 Jiangsu Provincial Art Museum Song Fangfei
Francis Chung "Autumn Elk"
69cm×66.7cm
In 1981
Autumn Forest Elk, on the night of October 9, 1981, was composed in Chang'an Zihui Garden.
Fang (Bai Wen), Ji Zhong (Bai Wen), Zi Hui Garden Tibetan Painting (Zhu Wen)
Francis Zhong (1923-1987), pen name Xue Nong, was a native of Mian County, Shaanxi Province. He learned to paint since childhood, studied under Zhao Wangyun in 1946, and then engaged in art creation and propaganda work for a long time, and was one of the representative painters of the Chang'an School. He is good at landscapes, flowers and birds, and his works are based on the scenery of rural and pastoral areas in the northwest, paying attention to natural spirits. The ink sketches are thick and fresh, and the real life is introduced into the idyllic artistic feeling, forming its own unique pastoral scenery model.
In his more than 40 years of creation, Mr. Francis has always followed the artistic proposition of the Chang'an School of Painting that "one hand reaches out to tradition and the other hand reaches out to life", takes pastoral life as the theme, expresses the style of the times and the western style, and gradually establishes his own artistic concept. After a long period of exploration, it has formed a pen and ink style of exquisite ink, vast and rich, calm and dignified, painful and intriguing, and has become an important figure in the Chinese painting world that inherits the past and opens up the future.
In 1970, Mr. Francis's family was sent back to the mountainous region of southern Shaanxi, and when he returned to his hometown, he was no longer just close to or deep into life, but truly integrated with life. The landscape awakened his old childhood dreams and also stirred his strong desire for artistic expression. Mr. Francis's paintings have maintained a consistent grace and tranquility in the vicissitudes of the past few decades, and he has integrated real life into the idyllic artistic feeling, thus changing the pattern of the traditional landscape model and pushing the aesthetic realm and brush and ink of Chinese landscape painting to a new stage of development.
Created in 1981, Mr. Francis's "Autumn Forest Elk" is mainly yellow tones, which show the surrounding scenery around the autumn mountains and forests, reflecting the strong autumn meaning, so that the viewer is immersed in the scene, and the warm and cold autumn wind seems to be blowing in the face. He also adds life to the landscape painting, three or two elk in the forest are playing, and the geese array lined up in the shape of "human" in the distance also adds a painting interest and a strong breath of life to the work, which has a deep sense of "all things have animism". The blank space at the top of the work renders the change of the environment, leaving room for people to reverie and think. This work has a comprehensive and holistic grasp of the basic characteristics of the scene, beautiful and fun, quiet and energetic.
Jiangsu Provincial Art Museum Collection Appreciation Season 2(101)
Huang Pimo's "White Cloud Life"
Wen 丨 Jiangsu Provincial Art Museum An Yinan
Huang Pimo 《Baiyun Sheng Place》
Watermark woodcut
42.5×65.3cm
Huang Pimo (1925-2015), born in Chongming, Shanghai, is one of the founders of modern Chinese prints in Jiangsu watermark printmaking. In 1945, he taught at Shanghai Chongming Dagong Middle School. He once served as the executive director of the China Printmakers Association, the vice president of the Jiangsu Printmakers Association, and the member of the Printmaking Art Committee of the Jiangsu Artists Association, and won the "Lu Xun Printmaking Award" and the "China Emerging Printmaking Contribution Award".
When watermark woodcut expresses natural scenery, its unique charm and natural sense often give people an endless aftertaste and a leisurely and long meaning, which is the unique picture language advantage of watermark woodcut. As a representative of the Jiangsu Watermark Woodcut School, Mr. Huang Pimo has his own unique perspective and insight in creating his personal style and picture language, giving future generations a model to learn.
"Baiyun Sheng" is one of the representative works of Mr. Huang Pimo's watermark woodblock prints. The work explains the high generality and flexibility of the language of watermark printmaking. The overall picture is vivid and full of spirit, and the color is bold and bright, giving the audience a pleasing feeling. The white clouds on the left and right sides of the picture press the dark blue sky in the middle, so that the audience's eyes are focused on the center of the picture, and the color relationship between the red houses below the picture and the sky transaction is bright and bright, highlighting the theme. The distant peaks are slightly covered with snow white, so that the white air on both sides of the picture is connected, making the mountain more endless, and it is connected with the houses nearby, and there is a majestic sense of majesty that soars into the sky.
Jiangsu Provincial Art Museum Collection Appreciation Season 2(102)
Wei Zixi 《 Yixing Forest Farm 》
Wen 丨 Jiangsu Provincial Art Museum Qian Xuejun
Wei Zixi 《 Yixing Forest Farm 》
Lenses Color on paper
33×43cm
In 1975
Painted in June 1975 in the forest farm, Wei Zixi.
Zi Xi Sketch (Bai Wen)
Wei Zixi (1915-2002), formerly known as Xianwen, was born in 1915 in Zhushidian, Suiping County, Henan, graduated from Henan Art Normal College, and later stayed on to teach. After the founding of New China, he successively served as a painter of the Jiangsu Provincial Chinese Painting Academy and an honorary president of the Xuzhou Chinese Painting Academy. Representative works include "Huang Yang Jie", "Clouds Rise and a Thousand Peaks Move, Springs Fly Ten Thousand Valleys", "Nanjing Plum Blossom Mountain", "Heavenly Graben Tongdao", etc., and published "Wei Zixi Painting Collection", "Wei Zixi Landscape Painting Spectrum" and so on.
In his early years, Wei Zixi specialized in landscape painting, and from the 1950s to the 1970s, he engaged in the creation of figure paintings, creating a number of figure paintings, New Year paintings and posters that praised China. "One hand reaches out to life, the other hand reaches out to tradition", is Mr. Wei Zixi's creed of adhering to the creation of painting, in his creation, always put the feeling first, all the expression methods are subordinate to his feelings about life. He continued to live in the countryside and mountainous areas. His painting style is beautiful, rigid and soft, graceful and healthy, graceful and exposed. Artistically, it is widely collected and inclusive, forming a unique artistic style and personality.
"Yixing Forest Farm" in the collection of Jiangsu Provincial Art Museum is a sketch work painted by Mr. Wei Zixi in 1975 in the forest farm. This work uses the vast brushstrokes to point out the fields of the forest farm, but also uses the same brushwork to point out the middle scene and the mountains in the distance. The whole work is dominated by flower cyan, which is dyed with undulating mountains and nearby tree fields, the farmland in the middle is supplemented by light green, and the hidden villages in the mountains are dyed with light ochre, and the picture is subtly changed in a unified tone. Lakes and mountains and turquoise fields are presented in front of us, the picture is quiet and clear, and the artistic conception is clear and open. This whole sketch work, which is completed in the form of dots, breaks through the traditional technique of landscape painting and reflects Mr. Wei Zixi's bold exploration after long-term accumulation and sketching.
Jiangsu Provincial Art Museum Collection Appreciation Season 2(103)
Wang's Pomegranate
Wen 丨 Jiangsu Provincial Art Museum Liu Peng
34x40.4cm
In 1956
Look at the place where he opened his mouth, and smile at the pearl. In the Mid-Autumn Festival, Wang Geyi painted in Shanghai.
Qi Zhi (Bai Wen), Ge Yi (Zhu Wen), Xu Man (Zhu Wen)
Wang Geyi (1897-1988), formerly known as Wang Nengxian, later renamed Wang Xian, the character Qizhi, the number of a fence, the name of the "Frost Pavilion", "Temporary Building", "Huan Yan Lou" and so on. Born in Sanxing Town, Haimen, Jiangsu Province, He has been good at poetry and Jinshi calligraphy and painting since childhood. He was a professor at Shanghai Xinhua University of the Arts, Soochow University and Changming Art College, and a professor at Shanghai Art College and the head of the Department of Chinese Painting. After the founding of the People's Republic of China, he successively served as vice president and honorary president of the Shanghai Academy of Chinese Painting.
Created in 1956, Wang's work "Pomegranate" in the Jiangsu Provincial Art Museum is a fine collection of freehand flower and bird paintings for Wang Geyi, with a strong golden stone atmosphere. Wang's calligraphy is based on the golden script and the stone drum script, and the zheng, li, xing, grass, and seal are all exquisite. In 1923, through the recommendation of the famous Nantong calligrapher and painter Li Kuli, he was able to celebrate Wu Changshuo's eightieth birthday and became his disciple. The calligrapher Mr. Sha Menghai once said: "Wang Geyi is the descendant of Wu Changshuo's mantle. Calm and calm, not fake Mannerisms, smoke clouds shu roll, Mo Ke Fang. ”
In his early years, Wang Learned the essence of Wu Changshuo's pen, and took the oblique posture often used to paint inscriptions. Looking closely, the inscription of "Pomegranate" - "Look at the opening of his (it), a pearl is quite old. This "Pomegranate" is painted with the brushwork of the seal, the picture is thick with a pen, not deliberately embellished, the pen and ink are smooth, simple and thick, and the hair is elegant and thin. The moisture of the pomegranate contrasts with the vigor of the branches, which has the taste of calligraphy with a pen. Although it is a small painting, it is quite imposing. In the "Wang Zhiyi Talks about Art", it is said: "Big paintings are regarded as small paintings, and they can be sprinkled with brushes at will; small paintings can be treated as large paintings, they can be careful, small paintings can see big, and the heavens and the earth are empty." "It can be said that the teacher is not confined, and it has become its own appearance."
Jiangsu Provincial Art Museum Collection Appreciation Season 2(104)
Liang Yuncai, "Nine Dragon Wall of beihai"
Wen 丨 Jiangsu Provincial Art Museum Xu Jian
Liang Yuncai《 "Beihai Nine Dragon Wall"
watercolor painting
54.5×39cm
In 1979
Liang Yuncai, born in 1923, is a native of Beijing, and specializes in watercolor and Chinese painting. He graduated from the Fine Arts Department of Fu Jen University in 1945 and later engaged in art education and stage art. He was an associate professor in the Department of Architecture of Nanjing Institute of Technology. Representative works include "Nanjing Yangtze River Bridge", "A Corner of the Confucius Hall in Qufu", etc., and published works such as "Pen Painting Technique". Architecture is one of the important themes in Liang Yuncai's watercolor paintings, and watercolor paintings have an irreplaceable aesthetic role in reflecting the style of ancient architecture. A number of excellent fine art works created by Liang Yuncai that combine architecture and watercolor have also played a strong role in promoting the recording of urban style and the protection of cultural heritage.
This painting "Nine Dragon Wall of the North Sea", the whole picture composition is rigorous and vivid, with a forty-five degree observation perspective highlights the graceful atmosphere and structural characteristics of the building, breaking the monotony and rigidity of depicting the Nine Dragon Wall from the front. The painter skillfully used the glazed tile color of the main body of the Nine Dragon Wall to contrast the cold and warm colors, so that the core building was full of color and bright tones, which played a role in faithfully recording the ancient architecture. In the treatment of secondary objects such as background, the painter uses brush strokes and water stains and other smearing techniques to summarize the shape of the scene according to the relationship between virtual and real, reflecting the changes and effects of different shades and shades. The picture water and color are integrated, the main body is taken and given, and the background is rendered in a large-area smudge method, which sets off the main body and creates a unique artistic beauty.