In July 2020, a "Remember nostalgia – Shandong Folk Art Exhibition" was exhibited at the National Museum of China. In the large and bright exhibition hall, more than 1,500 utensils with earthy smell are placed in different categories, introducing the "food, clothing, housing and entertainment" of Ludi rural areas in the most simple way, evoking people's long-lost local memories.
Exhibition entrance
Shandong noodle flowers
Lion dance props
Willow
Boshan big fish plate
Tancheng wood toys and stick people
Steamed bun bumps
In the process of urbanization and industrialization, the "outdated" traditional handicrafts that have been abandoned and the "backward" rural culture they represent have now appeared in China's top museums, and they are treated equally like historical relics.
This is the recognition and respect for the value of folk culture at the national level and in the mainstream context.
Folk culture represented by folklore, folk art and folk literature is the survival wisdom created by generations of working people in production and life, and the sum of people's spiritual beliefs, moral concepts, lifestyles and aesthetic forms.
Because of this, these warm and vivid, simple and childish, mysterious and romantic folk handicrafts in the exhibition still look close and familiar even if they have regional and chronological differences with us.
The exhibits are mainly from the China Folk Art Museum founded in 1998 by Pan Lusheng, president of the Shandong Academy of Arts and Crafts and chairman of the China Folk Writers Association. This is a private museum with the theme of rescuing, protecting and disseminating folk culture and art. Nearly 10,000 folk customs collections in the museum were "picked up" one by one during his many years of folk investigations.
Pan Rubin and his team's field research map
Pan Lusheng rural expedition part of the picture
From the beginning of the 1980s to follow Wang Chaowen to compile the "Complete Collection of Chinese Folk Art", to learn from Mr. Zhang Daoyi, to take folk art as the doctoral research direction, to start the Chinese folk culture rescue project with Feng Jicai, and then to lead the research team to carry out the design transformation, scientific research and creation of folk art...
In the past 40 years, Pan Lusheng has been walking on the land of the countryside, excavating and combing the folk culture that is on the verge of extinction, conducting research on folk art theory, and gradually building a discipline system of Chinese folk art.
Pan Lusheng is a scholarly monograph on some folk art studies
Folk Art Magazine, the journal of the Chinese Folk Writers Association
It is also based on the profound understanding of the value and current situation of rural culture during walking, and the concepts of "folk cultural ecological protection", "development of rural cultural industry" and "accurate poverty alleviation of national traditional crafts" put forward by him have become practical and important methods in today's intangible cultural heritage protection work.
Following the exhibition "Remember nostalgia", at the beginning of this year, Pan Lusheng brought his folk art collection to the National Museum.
Shandong Gaomi paper-cut
Woodblock Painting Fukumotoko
Embroidered pillow top
Ethnic minority flowers with patterns
Shandong Weifang Yangjiabu New Year Painting "Mountain Forest Tiger"
Shaanxi Shehuo Horse Spoon Face
Swipe left or right to view
Top left: Shaanxi Xuanyou mask Bottom left and right: Tibetan mask Top right: Guizhou puppet mask
High-density gray year painting
Tea Picking Spring Cow Picture / Jiangsu Taohuawu New Year Painting
Wang Hu fell to Feng Yan down the mountain / Shanxi Linfen Nian painting
Town house condor / Shandong Weifang Yangjiabu New Year painting
For more than a year / Tianjin Yangliu Youth Painting
Tianji Sending Son / Guangdong Foshan New Year Painting
Shandong Heze mud toy "baby model"
Henan Huaiyang mud dog
Painting by a farmer in Jinshan, Shanghai
Color printed cloth
Kazakh carpet weaving
In addition to the rescue protection and theoretical research of folk art, Pan Lusheng, who came from art, also explored more possibilities of folk art in contemporary times from its artistic value.
The exhibition includes a series of contemporary art works created by him in recent years that have absorbed the nourishment of folk art.
Wind and rain smooth / fiber hand embroidery 2006
Momofuku Mutetsu / Fiber Hand Embroidery 2006
Door God/Installation 2007
Heaven and Earth / Fiber Hand Embroidery 2020
Bless all sentient beings / Fiber Hand Embroidery 2007
Energetic / Porcelain plate painting 2014
Fuhu Town House / Fiber Hand Embroidery 2006
Colorful Quibble / Porcelain Plate Painting 2015
Shadow/Lacquer Painting 2014-2015
Fibers, ceramics, lacquer paintings, door gods, color ink, Luban line, which not only have the use of traditional handicrafts, but also the inheritance of the modeling system, color system and spiritual connotation of folk art.
In Pan Lusheng's eyes, folk art has never been a shackle that contemporary artists need to break, but an inexhaustible source of inspiration for literary and artistic creators. From this, you can touch the emotional code common to Chinese, and you can also find the unique cultural imprint of Chinese artists under the world art vocabulary.
The title of the exhibition, "Going to the Folk", is his work attitude and experience on the road of folk art half a lifetime, and it is also his ardent appeal to literary and art workers:
Go to the field and pay attention to the folk.
Text: Contributed by Wu Yi
Photo: Wu Yi
Edit: Zhile
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