The exhibition scene was photographed by Yu Guanchen
Beijing, January 20 (Reporter Ying Ni) From the "King of the Lingjie", to the "People's Artist", to the "Most Beautiful Strivers" - the "Mei Lan Fanghua" launched at the National Museum of China on the 20th, with nearly 400 pieces (sets) of physical objects and nearly 600 pictures, the legendary life of a generation of art master Mei Lanfang was comprehensively presented to the public.
The exhibition is divided into 8 units, including "Qunying Spectrum Jingyun", "Mei Xiu Out of the Family", "Mei Zhan Hundred Flowers", "Mei Xin Yuxuan", "Mei Xiang Chuan Wanli", "Plum Bone Proud Of the Wind and Snow", "Plum Newspaper All Things Spring", "Mei Yun Exhibition New Sound" and so on. The objects on display are precious cultural relics and documents related to Mei Lanfang's artistic life, and include collections that have not been published for a long time.
The exhibition scene was photographed by Yu Guanchen
Mei Lanfang, whose ancestral home is Taizhou, was born in Beijing in 1894. He came from a famous family, learned from his family, and turned to many teachers, and was a pioneer of the emerging Danxing school in the early 20th century. The Mei Lanfang art school he founded reversed the situation of "life-oriented" on the previous Peking Opera stage and created a new era of "equal emphasis on life and dan".
In 1917, Mei Lanfang was named the "King of the Lingjie", and mei Lanfang, who was known as the "People's Artist" after the founding of New China, was still awarded the title of "Most Beautiful Strivers" in 2019, nearly 60 years after his death, which can be described as a legendary and glorious life.
Mei Lanfang on the stage presents two images - "one is showing, one is being displayed". "Display" is the actor himself, full of oriental elegance of artistic creation, can taste the great beauty of song and dance transmission; "shown" is a dramatic character, there is a kind of "hidden" magic, the actor hidden in the interior of the drama character, into the color of hundreds of millions of characters, living on the stage. Actors can unite with the role, create a lively life with the vocabulary of programmed actions, and can "drag" themselves out of the character's body at any time, "look at themselves and their own performances with strange eyes", which is where the unique charm of Chinese Peking Opera and Chinese Opera lies.
As a pioneer in the overseas dissemination of Peking Opera art, Mei Lanfang has visited Japan, the United States, the Soviet Union and other countries for many times, highlighting the unique value of Chinese opera art in the treasure house of world art, and making positive contributions to the exchange and mutual learning of Chinese and foreign civilizations. In 1959, Mei Lanfang joined the Communist Party of China, and his art and life were more closely linked to the masses of the people.
The preciousness of Mei Lanfang's art lies not only in her unique natural conditions and painstaking efforts, but also in her progressive ideas, political embrace and national integrity. From the fashion dramas that broke feudal superstitions and feudal etiquette after the May Fourth Movement, such as "A Wisp of Hemp" and "Eunuch Tide", to the historical dramas that inspired the fighting spirit of the whole nation, such as "Life and Death Hate" and "Anti-Gold Soldier" in the early stage of the War of Resistance Against Japanese Aggression, mei Lanfang's rehearsal repertoire has always been related to the changes of the times and is related to the rise and fall of the country. After the outbreak of the War of Resistance Against Japanese Aggression in an all-round way, Mei Lanfang resolutely refrained from colluding with the Japanese and the hypocrites and aiding and abetting abuse, and lived in Hong Kong and Shanghai with her family successively, singing and dancing, and growing a beard for eight years, during which she only relied on pawns and paintings as a continuation, and showed the lofty dignity and dignity of "preferring to be crushed by jade rather than for the whole" at the critical juncture of the nation. In the 1950s, Mei Lanfang actively practiced the purpose of "literature and art for the people", constantly innovated, built a drama performance system with deep national characteristics, completed the sublimation and transformation from "the king of the world" to the people's artist, and became a literary and art worker with high cultural self-confidence.
Cultural and creative "noble concubine drunk" theme coffee Guobo Mei cuisine courtesy of the picture
It is worth mentioning that during the exhibition, Guobo also specially launched the "Noble Concubine Drunk" theme coffee, allowing the audience to "immerse" the exhibition from visual to taste. And this idea is derived from one of Mei Lanfang's classic representative plays "Noble Concubine Drunk", and the exquisite peony ornament on the coffee is a metaphor for the grace and magnificence of the characters in the play.
It is reported that the exhibition is co-sponsored by the National Museum of China and Mei Lanfang Memorial Hall and the Taizhou Municipal People's Government, and will last for one month. (End)