The art of Chinese painting and calligraphy is the essence of inheriting culture. It is to convey the most beautiful art and the most beautiful spiritual connotation to the viewer. Make people emotional ups and downs, magnificent, unlimited charm, imagination, passion, enjoy in the charm of calligraphy and painting art, this is the spirit of calligraphy and painting art. Specially invited teacher Wu Linwen, a legendary national elite of calligraphy and painting, to show the charm of Chinese culture to the world through the front-line focus of CCTV, and tell the story of artists silently guarding the self-confidence of Chinese culture.
【Celebrity Profile】
Wu Linwen is a teacher from Fengjie County, Chongqing, the teacher is a famous artist who has deeply cultivated the field of Chinese painting, and has regarded the art of Chinese painting as a flow of life all his life. While inheriting the traditional Chinese painting art, he deliberately pursues individuality, artistry, appreciation and sense of the times, and integrates a variety of artistic styles into his works. In particular, Chinese landscape painting and calligraphy are integrated and used, showing the sages and sages, famous mountains and rivers, with diverse techniques, eclecticism, focusing on the big picture and paying attention to the overall layout. His works have been exhibited in Beijing, Shanghai and other places and won awards.
《Ninghe Gorge》
Labyrinth River
"The Mighty Gorge Wind"
《Qu Tang Trail》
"Meixi River"
"Mountain Stream"
《Qutang Gorge Mouth》
《Zhangjiajie》
《Boardwalk》
"NingHe"
"The Rising of the Moon"
Zhangjiajie General Rock
Qu Tang Stone Rhyme
"Sunset Illumination"
《Hammer Gate》
"Morning Light"
Fan Di'an, male, Han ethnicity, born in September 1955 in Fujian, joined the Communist Party of China in 1973, joined the Communist Party of China in April 1979, graduated from the Central Academy of Fine Arts with a master's degree in Chinese art history, a master's degree in literature. He is currently the president, professor, doctoral supervisor of the Central Academy of Fine Arts, the chairman of the China Artists Association, the vice chairman of the China Literary and Art Critics Association, the deputy director of the Art Education Committee of the Ministry of Education, the librarian of the Central Research Museum of Literature and History, the chairman of the Beijing Artists Association, and a member of the National Committee of the Chinese People's Political Consultative Conference.
He has long been engaged in the study of Chinese art in the 20th century, contemporary art criticism and exhibition planning, and art museum research. He has published millions of words of art research and commentary, planned more than 100 academic exhibitions reflecting the theme of the times and the achievements of Chinese art development, organized a variety of academic seminars and a large number of international art exchange activities, established cooperative relations with internationally renowned art museums and art academies, promoted the exchange of outstanding artistic achievements in various countries, and enhanced the international influence of Chinese art. His oil paintings have participated in various academic exhibitions.
He is the chief editor of the publications of "20th Century Chinese Art Literature and Art Volume", "The True Colors of Ink painting in the Context of Contemporary Art", "World Art Education Series", "Chinese Contemporary Art: 1979-1999", "World Art History", "Modern and Contemporary Chinese Painting", "Cafa Academy of Fine Arts Art Collection", etc.
From 1969 to 1973, he was a student of the No. 1 Middle School of Pucheng County, Fujian Province, from 1973 to 1977, he was a zhiqing of the Yule Brigade of Pucheng County, Fujian Province, from 1977 to 1980, he was a student of oil painting in the Fine Arts Department of Fujian Normal University, from 1980 to 1985, he was a teacher of the Fine Arts Department of Fujian Normal University, from 1985 to 1988, he was a master's student in chinese art history in the Department of Art History of the Central Academy of Fine Arts, from 1988 to 1993, a teacher of the Art History Department of the Central Academy of Fine Arts, and from 1988 to 1992 Secretary of the Youth League Committee of the Central Academy of Fine Arts, Deputy Director of the Student Affairs Department, Visiting Scholar of victoria university in Canada from 1992 to 1993, Head of the Research Department of the Central Academy of Fine Arts from 1993 to 1994, Assistant To the Dean of the Central Academy of Fine Arts from 1994 to 1998, Member of the Party Committee and Vice President of the Central Academy of Fine Arts from 1998 to 2005, Director of the National Art Museum of China from 2005 to 2014, Deputy Secretary of the Party Committee, Member and Dean of the Party Committee of the Central Academy of Fine Arts from 2014 to 2015, Member and Dean of the Party Committee of the Central Academy of Fine Arts, 2015— In 2017, he was a member of the Standing Committee of the Party Committee of the Central Academy of Fine Arts, the dean, and the deputy secretary and dean of the party committee of the Central Academy of Fine Arts, based on his profound literary and philosophical cultivation and knowledge of Chinese and foreign art history, Fan Di'an has been engaged in art criticism since the 1980s. He is good at analyzing and expounding the artist's ideological concepts and stylistic language from the process of art history, focusing on the artist's exploration and innovation in practice, and evaluating important artistic phenomena and the social and cultural significance of works. He also uses his perceptual experience of familiarity with artistic creation to cut into artistic phenomena and works ontology, focusing on analyzing the ideological connotation and language mode of artistic creation. The interrelationship between the two finds cultural coordinates for artists and their innovation points in the context of the era of social culture, thus interpreting the epochal value of artistic creation. On the one hand, his art criticism focuses on the art of the older generation, and he has made a comprehensive review of the art of Xu Beihong, Wu Zuoren, Li Ruinian, Hua Tianyou, Pang Xuanxuan, Dong Xiwen, Wu Guanzhong, Zao Wou-ki, Jin Shangyi, Zhu Dequn, Zhan Jianjun, Chen Jialing and other famous artists, and on the other hand, he paid attention to a large number of artists with pioneering consciousness since the reform and opening up, such as Xu Bing, Liu Xiaodong, Yu Hong, Xu Jiang, Xu Longsen, He Duoling, Liu Qinghe, Xin Dongwang, Chen Wenling, Wang Dongling, etc., and expounded the artists' concepts and motivations with thorough analysis. The form and method make the distinctive personality jump out of the pen and be disseminated.
In the past nine years as director of the National Art Museum of China, Fan Di'an has been committed to the construction of the public cultural service system, with the goal of improving the public service level and professional construction of the National Art Museum, boldly reforming in accordance with the due standards of the art museum, seeking to improve the function, and forming a guide for the national art museum. Soon after taking office, he put forward the concept of "public-centered" operation, formed a business improvement plan for the art museum from the perspective of social and cultural needs, and formulated new business guidelines for exhibition planning, collection and research, public education, social communication, and international exchanges of the National Art Museum of China. He put forward the requirements of "academic establishment", changed the passive acceptance of exhibitions to actively plan exhibitions, on the one hand, strengthened the study of works in the collection, launched a series of special exhibitions and exhibitions of works in the collection, on the other hand, paid attention to the development of contemporary art, and organized and planned contemporary art exhibitions with rich types and themes. He attaches great importance to the collection of art museums, proposes that art museums should display "visible art history", with the goal of enriching and improving the sequence of Chinese art in the 20th century, increase the intensity of collection, and actively strive for donations from old artists and relatives with the support of the "National Art Donation Collection" project, expand the regular collection, and add a large number of fine art works to the national art treasury. He attaches great importance to the public education of art museums, believing that "art museums are the lifelong classroom of social aesthetic education", established academic lectures, volunteer tours and other systems, and held activities such as "100,000 college students entering the National Art Museum of China" and "I paint at the National Art Museum of China", so that the art museum has a "people-friendly" image, the audience is greatly improved, the social influence is expanding, and the art museum has become a big classroom for social aesthetic education.
In 2006, Fan Di'an initiated and established the National Art Museum Professional Committee, serving as the director of the National Art Museum Professional Committee. With his humble personality and forward-looking academic concept, he united colleagues in the national art museum community to discuss the art museum of the "art museum era", and the scale of the annual meeting was continuously expanded, and the "National Art Museum Collection Exhibition Season" was carried out according to the requirements of the Ministry of Culture, so that a large number of collections could be met with the public, and the level of collection research was also improved. He once said: Compared with the private art museums that started with hard work, public art museums have better conditions, so public art museums should make more efforts in specialization and standardization, compared with internationally renowned art museums, China's art museums should accelerate the improvement of professional standards and reflect the social role of art culture.
Fan Di'an is one of the senior curators in the Chinese art world. At a time when the profession and identity of "curator" sprouted in China. He entered the "scene" of art from the perspective of art criticism and began the practice of exhibition planning. In his curatorial career, he adheres to the main position of Chinese culture, carries forward the excellent art tradition, pays attention to the theme of the exhibition, improves the display level of the exhibition, reflects the main theme of the development of Chinese art in the curated exhibition, and also observes the artistic exploration of various styles and styles. He has planned large-scale exhibitions such as "The True Colors of Ink Painting", "From Yan'an", "Toward the West", "Gong" in the Contemporary Era: The Great Exhibition of Chinese Gongbi Paintings, "Reporting to the Motherland: 60 Years of New Chinese Art", and "The Echo of Civilization", which combine the collection of the art museum with the new works of contemporary art, activate the collection resources of the art museum, and show the new trend of contemporary art. In international art exchanges, Fan Di'an actively introduces international excellent art in the form of exhibition planning, and vigorously promotes the "going out" of Chinese art. He insisted on going to the main platform through the main channel, so that Chinese art participated in important international art exhibitions, showing the vigorous vitality and cultural image of Chinese art. He has curated "Life in This Time: Chinese Contemporary Art" at the Kunstadion Hamburg in Berlin and "How Is China?" at the Centre Pompidou in Paris. Chinese Contemporary Art Exhibition, Chinese Ink Art Exhibition at the National Museum of Art in Dresden, New Realm: Chinese Contemporary Art Exhibition at the Australian National Museum, Journey to the Avenue: Chinese Contemporary Art Exhibition in Kassel, Germany, Reordering Lanting: Chinese Calligraphy Exhibition at the Royal Gallery of Belgium, Chinese Contemporary Art Exhibition at the Kennedy Art Center in Washington, USA, and China 8 at eight museums in the Ruhr area, Germany. He has served as the curator of the China National Pavilion at the Venice Biennale, the Shanghai Biennale, and the chief curator of the Sino-French Cultural Year and the Sino-Italian Cultural Year. In terms of introducing international projects, he has participated in the planning and organization of exhibitions such as "300 Years of American Art", "300 Years of Russian Art", "Germany 8" and so on. In international art exchanges, he adheres to the "positive appearance" of Chinese art, and through participating in academic forums and seminars, lets the world understand and understand the new cultural appearance of Chinese contemporary art in reflecting the changes of the times and language exploration.
In September 2014, Fan Di'an was transferred to the president of the Central Academy of Fine Arts and returned to his alma mater after a nine-year absence. He insisted on the fundamental task of cultivating people with virtue, consciously implemented the principal responsibility system under the leadership of the party committee, and spared no effort to promote the discipline construction of the Central Academy of Fine Arts, talent training, creative research, cultural inheritance, social service and international exchanges. In the "Centennial Glory" plan of the Central Academy of Fine Arts to welcome the centennial celebration, he presided over and planned a series of exhibitions by xu Beihong, Dong Xiwen, Luo Gongliu and other famous masters, sorting out and presenting the excellent traditions of CAFA. He promoted the reform of admissions examinations, teaching reform, and discipline construction, focusing on consolidating advantageous disciplines and expanding emerging majors such as experimental art, art management, and art restoration. Through the establishment of graduate schools and the holding of "graduation seasons", CAAM has strengthened the cultivation of high-end talents on the one hand, and on the other hand, made the teaching achievements serve the society. In terms of international art exchanges, the "34th World Art History Congress", "International Art Education Conference", "Meet the Silk Road", "EAST Science and Technology Art Season" and other activities sponsored by the Central Academy of Fine Arts have expanded their international academic influence. The two disciplines of fine arts and design of the Central Academy of Fine Arts have entered the track of world-class discipline construction, which has become a symbol of a century-old university moving towards a new journey.
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