The exhibition scene of the "Magnificent Rivers and Mountains" exhibition of the National Art Museum of China was photographed by Shi Chunyang
Beijing, February 25 (China News Network) -- The National Art Museum of China's "Collection Revitalization" series of exhibitions recently opened three exhibitions in one breath, respectively, exhibiting the collection of landscape and landscape works, folk art masterpieces, and works created and donated by the famous printmaker Li Pingfan, presenting the audience with an art feast in spring.
The exhibition scene of the "Magnificent Rivers and Mountains" exhibition of the National Art Museum of China was photographed by Shi Chunyang
"Magnificent rivers and mountains" overlook the great rivers and mountains
In the "Magnificent Rivers and Mountains - Exhibition of Landscapes and Landscapes Collected by the National Art Museum of China", the National Art Museum of China exhibited more than 130 masterpieces of Chinese landscapes and landscapes in the collection, covering Chinese paintings, oil paintings, prints, watercolors, sculptures and other art types.
In the first chapter of the exhibition, "Alpine Elevation", the classic works of modern and contemporary masters such as Qi Baishi, Huang Binhong, Lin Fengmian, Liu Haisu, Pan Tianshou, Li Keyan, Fu Baoshi, guan Shanyue and so on are exhibited. Next, there are four chapters: "New Elephant of the Times", "Great Cause of Construction", "Poetic Habitat" and "Image of Nature".
In the view of Wu Weishan, director of the National Art Museum of China, "Jiangshan" means more than just landscapes and landscapes in Chinese culture. Jiangshan is not only the great structure of nature, but also the people's reconstruction of nature, but also the people themselves. He said that from the founding of New China to the period of reform and opening up and the new era, the image of Jiangshan created by Chinese artists has shown different faces with the transformation and innovation of aesthetic styles in different periods. "These works convey affection with things and use beautiful words to lead the audience to feel the artist's personal mental image, the weather of the times and the natural scene into the trajectory of the moving works, and understand the great Chinese spirit contained in it."
The exhibition scene of the "National Wind Tangible" exhibition of the National Art Museum of China is photographed by Shi Chunyang
"National Style Tangible" experience folk art
"National Style is Tangible - The National Art Museum of the Year of the Tiger Yingchun Folk Art Exhibition" selects more than 160 pieces from many folk art works in the collection, divided into four chapters: "Hundred Tigers Noisy Spring", "Spring Wind Cutting", "Spring and Jingming" and "Spring Color Full garden", covering New Year paintings, paper cutting, shadow puppets, painted sculptures, kites and other categories, showing the unique cultures and customs of different ethnic groups and different regions in the land of China.
"Hundred Tigers in Spring" focuses on displaying the images of various "tigers" in folk art, from tiger head hats, tiger saliva, tiger head shoes, to cloth tigers, shouting tigers, mud sitting tigers, etc., as well as various tiger-shaped paper-cuts and New Year paintings, reflecting the cultural psychology of Chinese Yingxiang Najib and the aesthetic concept of Dunhou simplicity.
"Spring Wind Cut" focuses on the theme of "Spring" and presents the special visual aesthetic and creative characteristics of paper-cutting art; "Spring and Jingming" mainly shows the representative New Year paintings of different regions in China.
The works of shadow puppets, kites, folk painted sculptures and other works exhibited in "Spring Color Full Garden" are representatives of similar collections of the National Art Museum of China. Among them, the shadow puppet treasures of Shaanxi East Road in the Qing Dynasty, with exquisite carving skills, rigorous shapes and gorgeous colors; kite works of the four famous kite production areas and important genres in Beijing, Tianjin, Weifang and Nantong, or rough and bold, or lively and exquisite, or bright and gorgeous, or light and elegant, set the victory of kites from the north and south; the painted sculpture treasures of Tianjin, Wuxi Huishan and Chaozhou Dawu and other places have diverse forms and wonderful contents.
"Mediocre" Feel Print Life
As one of the representative works of printmaker Li Pingfan, the print "We Want Peace" won the silver medal at the 1959 Leipzig International Printmaking Exhibition in Germany, becoming a well-known classic for many people. This work appears in the "Ordinary and Extraordinary - Li Pingfan Creation and Donation Works Exhibition", and it is also a representative work that best reflects his artistic characteristics.
The famous printmaker Li Pingfan was born in 1922, his original name was Li Wenkun. When he was fifteen years old, the "July 7 Incident" occurred. Inspired by the emerging woodcut movement advocated by Mr. Lu Xun, he began to teach himself woodcut, and since then, his printmaking has been closely linked to the context of the times. His early works were mainly to express the hard life of the toiling masses, and after the founding of New China, he turned to celebrating peace and depicting a happy life.
The national art museum of China", "Ordinary and Extraordinary" exhibition scene, photographed by Shi Chunyang
The exhibition features more than 100 selected works from more than 1,600 works donated by Mr. Li Pingfan. The exhibition is divided into two sections, among which "Sword and Pen Extraordinary" exhibits Li Pingfan's prints, Chinese paintings, and art diaries; "Gifts extraordinary" exhibits Japanese ukiyo-e, Japanese modern prints, Japanese book collection tickets and international prints donated by Li Pingfan to the National Art Museum of China, and the works of many important artists such as Hiroshige Ando, Katsushika Hokusai, Kitagawa Goku, and Kitaoka Fumio are displayed.
It is reported that in addition to the "Ordinary and Extraordinary - Li Pingfan Creation and Donation Works Exhibition" that lasted until March 9, the other two major exhibitions were exhibited until March 23. (End)