The Surging News learned that the "National Style is Tangible - The National Art Museum of China's Spring Festival Folk Art Exhibition in the Year of the Tiger" was recently exhibited at the National Art Museum of China. This exhibition is a series of exhibitions of the National Art Museum of China", which is divided into four chapters: "Hundred Tigers And Spring", "Spring Wind Cutting", "Spring and Jingming" and "Spring Color Full of Garden". The exhibition selects more than 160 pieces from many folk art works in the collection, covering New Year paintings, paper-cutting, shadow puppets, painted sculptures, kites and other categories, showing the cultures and customs of different ethnic groups and different regions in China.
Mountain Forest Tiger Anon. Annual Painting 80×56cm Modern Weifang, Shandong Collection of the National Art Museum of China
Chinese folk art is deeply rooted in the soil with thousands of years of agricultural civilization, it carries the fragrance of the earth and the most simple emotions of the people. As early as 3,000 years ago, the ancestors paid attention to understanding the folk customs by collecting folk poetry, and in the "Book of Poetry", the "National Style" brought together the folk poems of various princely states from the beginning of the Zhou Dynasty to the Spring and Autumn Period, and its content expressed the most authentic life of the working people and their vision of a better life. In the folk art form, there are not only poetry, but also various forms of folk art like mountains and flowers, which are the tangible national style. These diverse forms of folk art have formed the basic content of the original culture of the Chinese nation and have become the common spiritual memory of our nation. The National Art Museum of China has been paying attention to the collection of folk art since the early days of its establishment, and this tradition comes from the importance attached to folk art by Lu art workers in the Yan'an period. In the past 60 years, with the efforts of several generations, the National Art Museum of China has collected about 60,000 pieces of folk art in the form of almost all varieties. These folk art works are the material forms of Chinese folk culture, and they jointly build a vast spiritual ocean of national culture in the national art hall.
Showroom scene
Exhibition posters
Wu Weishan, member of the Standing Committee of the National Committee of the Chinese People's Political Consultative Conference, director of the National Art Museum of China, and vice chairman of the China Artists Association, said: "Folk art embodies the most simple spiritual demands and aesthetic expressions of the broad masses of the people, and in the process of dealing with nature for a long time, the industrious and intelligent working people have taken local materials and guided them according to the situation, creating a variety of forms of expression and content of folk art in folk life."
The theme of the exhibition is derived from the "national style" in the Book of Poetry, expressing the most authentic life of working people and their yearning for a better life. Here, the meaning of "national style is tangible" is rooted in various folk art forms like mountains and flowers.
This exhibition highlights the two elements of "tiger" and "spring". The first chapter, "Hundred Tigers In Spring", focuses on the images of various "tigers" in folk art. In traditional culture, the tiger is a symbol of courage, courage and courage, from tiger head hats, tiger saliva, tiger head shoes, to cloth tigers, shouting tigers, mud sitting tigers, etc., as well as a variety of tiger shape paper cuts and New Year paintings, which are closely related to the lives of the general public. Most of the exhibits in this part were collected in the 1980s, and the creation time from the Qing Dynasty to the contemporary era reflects the cultural psychology of Chinese Yingxiang Najib and the simple aesthetic concept of Dun hou.
Little Monkey Playing Tiger Qi Xiumei Paper Cut 39×53cm 1990s Qingyang, Gansu, National Art Museum of China Collection
Xiashan Tiger Zhang Zhilan Peasant Painting 91×62cm, 1983 Ansai, Shaanxi, National Art Museum of China
Flat embroidery bird pattern tiger bib Anon. Embroidery 26×27cm 1980s Collection of the National Art Museum of China, Hua County, Shaanxi Province
Big Sitting Tiger Hu Shen Clay Sculpture 20×35×48cm 1990s Fengxiang, Shaanxi, National Art Museum of China
White Flower Tiger Li Quanjin Toy 12×22×24cm 1990s Luochuan, Shaanxi, National Art Museum of China Collection
The second chapter, "Spring Wind Cutting", focuses on the theme of "Spring" and shows the scene of spring in folk art. This section has both traditional paper-cutting such as window flowers, embroidery patterns, and gift flowers, as well as creative paper-cutting that expresses personal emotions through folk forms and contents, presenting the special visual aesthetic and creative characteristics of paper-cutting art, and conveying the simple thoughts and feelings of the general public and the universal concept of creation.
Flower Cut Lady Song Ku Shulan Paper Cut 79× 109cm 1988 Collection of the National Art Museum of China, Xunyi, Shaanxi
February 2 Hua Yuexiu Paper Cut 71×56cm, 2007, Yulin, Shaanxi, National Art Museum of China Collection
ErjinGong Anon. Paper Cut 30×50cm Collection of the National Art Museum of China, Yantai, Republic of China
The third chapter, "Spring and Jingming", mainly displays the representative New Year paintings of different regions of China, which present unique aesthetic characteristics, both for the sacrifice of folk life, as well as the picture of praying for a better life, as well as the textbook joke story. The art of New Year painting condenses into a cultural ideal of beauty and commonality in the vast land of China, carrying the common memories of the farming era of the sons and daughters of China, which echo each other and converge into a brilliant starry sky.
Spring Breeze Triumphant Qi Jianlong Annual Painting 32.5×56.8cm Qing Dynasty Tianjin Yang Liuqing Collection of the National Art Museum of China
Ten Beautiful Pictures Flying Kites Tianjin Yangliuqing Painting Shop Annual Painting 68×115cm Modern Tianjin Yangliuqing Collection of the National Art Museum of China
Eight Pulls Qi Jianlong New Year Painting 61×107.2cm New Painting of Qing Edition Tianjin Yang Liuqing Collection of the National Art Museum of China
Singing Hall Hui Anon. New Year Painting 33×44cm Qing Dynasty, Beijing, National Art Museum of China Collection
The fourth chapter, "Spring Colors Full of Gardens", exhibits shadow puppets, kites, and folk painted sculptures, all of which are representatives of similar collections in 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.
Five-fish swallow Ha Kuiming Kite 97×89cm Modern Beijing National Art Museum of China collection
Dragon Head Centipede Hao Deli Kite 120×120×300cm Modern Beijing National Art Museum of China Collection
Shehuo Anon. Shadow Puppet 150×220cm Collection of the National Art Museum of China, Shanxi, Republic of China
Huaguoshan Anon. Shadow Puppet 150×220cm Qing Dynasty, Shaanxi, National Art Museum of China
Shi Lang Visits Mother Original: Zhang Yuting Zhang Naiying (imitation) Clay Sculpture Height 40cm, Tianjin, 2007 Collection of the National Art Museum of China
Hui Jingzhou Wang Guodong, Zhang Xiaoquan Clay Sculpture 10×12×18cm, 1985, Collection of the National Art Museum of China, Wuxi, Jiangsu Province
Chinese New Year Music Gong Qi Clay Sculpture 11×5×15cm×2 2002 Collection of the National Art Museum of China, Wuxi, Jiangsu Province
Through this exhibition, the audience can feel the joy and tranquility and spring at the same time, evoke the deep and original spiritual memory of the Chinese nation presented in folk art, and find the source of the cultural self-confidence of the Chinese nation.
It is reported that the exhibition is presented in the exhibition hall on the fifth floor of the National Art Museum of China and will be on display until March 23 (closed on Monday).
(Note: The information in this article is compiled from the National Art Museum of China.) ）