In January 2011, pan Lusheng took a group photo with children at the "Craftsmanship In Rural Areas" exhibition held at the National Art Museum of China.
According to the "China News" newspaper, recently, the "Go to the Folk - Pan Lusheng Folk Art Exhibition" was held at the National Museum of China. Pan Lusheng, vice chairman of the China Federation of Literary and Art Circles, chairman of the China Folk Writers Association, and president of the Shandong Academy of Arts and Crafts, was interviewed by this newspaper to talk about the beauty of life contained in folk art and the inheritance and protection of folk art. In addition, as an expert consultant of the visual effects design team for the opening ceremony of the Beijing 2022 Winter Olympics, Pan Lusheng interpreted the visual symbol language of the opening ceremony, saying that it embodied the characteristics of Chinese aesthetics and also conveyed the open vision of communication and connectivity.
"China News" reporter: "Go to the Folk - Pan Lusheng Folk Art Exhibition" takes your folk art collection, folk art research and art creation as the main body, exhibiting more than 500 pieces (sets) of traditional folk art works and contemporary art creations. What was the original intention of this exhibition? What aspects of the exhibition are of special significance?
Pan Lusheng: "Going to the Folk" Folk Art Theme Exhibition is a systematic exhibition that I have collected, studied and designed and created over the years. For decades, I have had the privilege of "going to the folk" in the choice of academics, careers and careers, learning the great love of life from folk artists, seeing the great beauty of the world from the study of folk art, and harvesting a lot of happiness in research and creation. The original intention of this exhibition is also to trace back the concept of "going to the people", and to form a rediscovery of the beauty of life and the re-promotion of the aesthetic spirit of folk art with the audience.
This exhibition and people look back on the traditions of life, recount nostalgic memories, and jointly exchange the paths and mechanisms of creative transformation and innovative development of national and folk excellent traditional cultures. We must not only guard and inherit, but also innovate and develop, have a kind of life mood, temperature and concern in addition to the rapid development of material production and technical rationality, and give birth to new ideas in addition to old craftsmanship and old objects. This is also a continuation of the context of our national life.
On January 29 this year, a little girl took a group photo with the Door God installation at the "Go to the Folk" folk art exhibition of the National Expo.
We will juxtapose and exhibit folk art collections and folk art element works, on the one hand, to present the simple beauty of local folk art, on the other hand, to show the exploration path of creative transformation and innovative development of folk art.
I also particularly hope that more primary and secondary school students will visit the exhibition, enhance children's cultural cognition, cultivate local feelings, sow the seeds of folk art, strengthen the cultural self-confidence of a generation, and enhance the ability to tell Chinese stories well and inherit and develop national culture.
"China News" reporter: Which exhibits in the exhibition are particularly worth recommending?
Pan Lusheng: On the occasion of the Lunar New Year, we decorated the image wall at the entrance of the exhibition hall with the Yangjiabu Gate God "Shendi Yulei". Folk customs Lunar New Year sticking to the door god on the door, Wei family home, to ensure peace, to help utilitarian, descending auspicious, door god is the expression of folk prayers for naxiang emotional wishes.
"Door God" is also a prominent cultural symbol in this exhibition, in addition to the display of the Collection of Door God New Year Paintings, the display unit of "Tuofu Na Ling" also places a "Door God" installation work. This piece is embroidered with a traditional wooden door leaf double-sided inlaid door god, originally created in 2003. The concept conveyed by this installation is also to restart the door of folk art and beautify contemporary life. For the past two decades, it has run through my thinking about the value of folk art. The Door God installation has appeared in an important position in the exhibition I have held many times, and the presentation form is constantly created and iterated. The portrait of the god of the door on the door leaf was replaced by a hand-embroidered image from the original woodblock print. If the Yangjiabu Gate Shennian Painting presents the beauty of folk art with authenticity, then the Door God installation carries the expression intention of "creative transformation". In the flow of time, through the door of folk art, discover the eternal beauty embedded in the world of human emotions.
"China News" reporter: Last summer, the "Remember Nostalgia - Shandong Folk Art Exhibition" was held at the National Expo, and among the more than 1,500 exhibits on display were clay pots used by your grandmother to store eggs, and there were patterns made of "fighting grain" of the ecstasy array in "Sun Zhen's Art of War". How is Shandong's local culture different from other villages?
Pan Lusheng: Folk art has the characteristics of the original culture, but also has a distinct regionality, and is a wonderful presentation of the diversity of the Chinese nation's pluralistic and integrated cultural community Chinese.
The local culture of Qilu land is full of characteristics, such as Yangjiabu's New Year paintings, full composition, exaggerated shape, bright colors, and distinct styles; Juancheng's hand-woven flower cloth, flexible combination of twill, stripes, and checkered patterns, bright and warm colors, and fine in thickness; Heze's child models, plastic, carving, pinching a variety of techniques, vivid and lively, colorful, rich in simple and innocent decorative interest. Just like the simple and simple character of Shandong people, Shandong folk art has simple, free and bright artistic characteristics.
"China News" reporter: You have traveled all over the country to conduct in-depth research in the countryside, can you introduce the development and protection of folk art in ethnic minority areas?
Pan Lusheng: The development of folk crafts in ethnic minority areas is an area of my long-term concern. Ethnic minority areas have better preserved the original ecological appearance of folk crafts. Mongolian embroidery, Bai silverware, Zhuang brocade, Miao batik, etc., have become important cultural resources driving local development.
For example, the Inner Mongolia Branch Right Middle Banner is currently focusing on building an embroidery craft industrial village, developing an embroidery poverty alleviation workshop, taking the local representative fruits and vegetables, flowers, etc. as patterns, using the traditional Mongolian embroidery craft to produce handicrafts, and promoting the development of the local economy through e-commerce, embroidery exhibitions, sales halls within the flag, and building an industrial village sales market. The cultivation of the Bai Silverware Professional Village in Xinhua Village, Heqing, Yunnan Province, has attracted a large number of "craftsman-type" craftsmen to return to their hometowns to start a business, which not only ignited the local tourism economy, but also developed folk crafts.
"China News" reporter: With the process of urbanization, many young people have gone out of the countryside, how to "borrow folk art to continue to pass on the cultural torch" in this situation?
Pan Lusheng: Building a network for the inheritance and dissemination of folk art requires the participation of many forces. Among them, experts and scholars need to excavate, sort out and record endangered folk crafts from the perspective of protecting folk culture, and preserve the genetic seeds of culture; it is necessary to cultivate the cultural consciousness of craft inheritors, consciously undertake the cultural mission of craft inheritance, bring crafts into the new community of their lives, and enrich people's cultural life. At the same time, it is necessary to encourage public cultural venues, institutions, homestays, etc., to display folk art in a variety of ways and spread local culture.
"China News" reporter: What are the highlights of the "Integration of Chinese Folk Crafts" that you presided over, "Establishing a Biography for Folk Artists"?
Pan Lusheng: The "Chinese Folk Craft Integration" project is an important project for the Implementation of the National Opinions on the Implementation of the National Excellent Traditional Culture Inheritance and Development Project and the "Chinese Traditional Craft Revitalization Plan" policy deployment of the Chinese People's Association, which was approved as a special entrusted project by the National Social Science Foundation in 2016 and included in the national "Thirteenth Five-Year Plan" major publishing project in 2018, hoping to fill the gap in the integration and compilation of folk crafts in the mainland.
Recently, "Go to the Folk - Pan Lusheng Folk Art Exhibition" was held at the National Museum of China.
Folk crafts carry the production and lifestyle of the vast number of people in the agricultural era, and are different from traditional crafts and arts and crafts industries, contemporary artists, craftsmen, craftsmen and crafts inheritors in the "Intangible Cultural Heritage List", new crafts and contemporary crafts innovated by "academics". "Integration" records the traditional folk production lifestyle and state, focusing on the in-depth excavation and comprehensive grasp of folk craft life, aesthetics and cultural functions. Up to now, the demonstration volumes of Guangdong, Shandong, Fujian, Jiangsu, Shanghai, Tianjin, Jilin, Hunan, Sichuan, Henan and other ten provinces have basically taken shape, and the compilation of other provincial volumes in the country has been steadily advancing.
China News: As an expert consultant of the visual effects design team for the opening ceremony of the Beijing Winter Olympic Games, you participated in the discussion of the visual effects plan for the opening ceremony and wrote an article "The Artistic Spirit of Visual Effects Design for the Winter Olympics" to interpret the aesthetics of the opening ceremony. What were some of the ideas for this opening ceremony that impressed you?
Pan Lusheng: The opening ceremony of the Beijing Winter Olympics embodies the characteristics of Chinese aesthetics, using creative visual language to realize the beauty of art and the power of science and technology, historical tradition and current reality, Chinese concept and world destiny, and the creative integration of Chinese cultural spirit and world sports events. Such a kind of integration is the key to solving problems in the process of discussion and exchange. For example, how can ancient traditions and innovative technologies be integrated and presented in a way that the world can understand? And the purpose is not only to show China, but also to contribute to the world. This requires a deep understanding and artistic re-creation, not simply the use of symbols and images, but the transmission of ideas and artistic concepts, and the expression of the common wisdom of all mankind in an infectious way.
It can be seen that the opening ceremony of the Winter Olympic Games expresses the value pursuit of common world and destiny in terms of visual symbol language, the Chinese time of ice and snow welcoming spring, the Chinese space accessible to households, and the writing and creation of people's picture scrolls, which express the common value pursuit of the world and the common destiny. For example, in traditional culture, time blends with spring, autumn, summer rain, and winter snow, reflecting the correspondence between "heaven" and "people". During the athletes' entrance ceremony, the lintel and window lintel patterns projected on the ground are rich and vivid, and the "Gate of China" and "Auspicious Window" not only show the creation of folk wisdom, but also convey the open vision of communication and connectivity.
【Biography】
Pan Lusheng, Doctor of Arts, Professor, Doctoral Supervisor, vice chairman of the China Federation of Literary and Art Circles, chairman of the China Folk Writers Association, chairman of the Shandong Provincial Federation of Literature and Literature, and president of shandong Academy of Arts and Crafts. He is a leading talent in philosophy and social science of the national "Ten Thousand Talents Plan", an expert who enjoys special allowances from the State Council, and a chief expert on major topics in art science of the National Social Science Foundation. He served as the director of the compilation and publication committee of the "Chinese Folk Literature Department" of the Chinese Excellent Traditional Culture Inheritance and Development Project, the chief editor of the "Integration of Chinese Folk Crafts", founded the "Chinese Folk Art Museum", and won the first "Advanced Worker of Intangible Cultural Heritage Protection" in china.
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