On the morning of March 4th, the retrospective exhibition "National Art Fund funded project: Chinese Contemporary Lacquer Painting" opened at the Fujian Provincial Art Museum. Qiu Zhijun, director of the Provincial Art Museum, presided over the opening ceremony, and Feng Linggang, director of the China Artists Association, Chen Jinhua, director of the Lacquer Painting Art Committee of the China Artists Association, and Zhao Shengli, vice chairman and secretary general of the Fujian Artists Association, delivered speeches at the opening ceremony. Artists, art lovers and journalists from the Sino-American Association, the Provincial Artists Association and major art faculties in the province attended the opening ceremony.
The scene of the opening ceremony
The retrospective exhibition is hosted by Lianfu Culture Communication (Xiamen) Co., Ltd. According to reports, Lianfu Culture Company was successfully held in six cities across the country in 2019, which has been widely concerned by all walks of life and affirmed by industry experts. In order to better report the results of the tour to all walks of life in the province and promote the development of Chinese lacquer painting art, Lianfu Culture is based on the "National Art Fund Funded Project: Chinese Contemporary Lacquer Painting Touring Exhibition", combined with the characteristics of the touring exhibition, and systematically reviewed the grand situation of the touring exhibition through the form of exhibition.
Based on the collection of Lianfu culture for nearly 20 years, the works on display are selected from the academic state of contemporary Chinese lacquer painting, and nearly 100 works are selected for exhibition. The participating authors include Qiao Shiguang, Zheng Liwei and other achievements of the older generation of lacquer painting artists, as well as Chen Jinhua, Cheng Xiangjun, Li Yongqing, Tang Zhiyi, Su Guowei, Liu Shanlin and other young and powerful contemporary lacquer painting creation backbone, and they are mostly professional teachers and academic leaders of lacquer painting in major universities, and the author's location also covers the main creative areas of Chinese contemporary lacquer painting, which is a complete presentation of the context and system of the development of Chinese contemporary lacquer painting art, showing the overall appearance of Chinese contemporary lacquer painting art. Artistic standards and the latest trends are of great significance.
Ye Shui Province (right), Chairman of Lianfu Culture Communication (Xiamen) Co., Ltd., donated the collection to the Fujian Provincial Art Museum
The works in the exhibition show the unique artistic perspective of the artists, showing the diversity of the development of lacquer painting in recent years in terms of subject matter, style and expression, and showing the artists' sense of social responsibility and humanistic care from multiple angles. Through these works, we can see the prosperity and diversified pattern of the development of contemporary Chinese lacquer painting, and we can deeply feel the artistic thinking and exploration spirit of Chinese contemporary lacquer painting artists.
Exhibition site
Lacquer painting is a painting variety with natural lacquer as the main medium and compatible with other lacquer materials for creation with unique oriental aesthetic character. It is a form of shelf painting that has been inherited for thousands of years from the ancient Chinese lacquer culture and integrates the aesthetic concept and modeling language of contemporary painting. Lacquer has the characteristics of warm, gorgeous, gentle, subtle, mysterious, thick and deep and other materials, the visual aesthetic effect of the lacquer painting ontology language has unique oriental artistic characteristics in terms of material, color and charm, and is a painting that can represent both a long and thick ancient Chinese art style and a contemporary Chinese culture and Chinese spirit.
Fuzhou has a long history of lacquer art, during the Song Dynasty, Fuzhou lacquer art was known for its lightness, smoothness, gorgeous colors, and as a treasure to pay tribute to the imperial court, The Qing Dynasty Li Yu praised Fuzhou lacquer art as "exquisite craftsmanship, color is lovely.". Since the late Qing Dynasty, Fuzhou Lacquer Art has also won frequent awards on behalf of China at successive World Expositions, making Fuzhou's lacquerware a precious craft in the international market. Fuzhou's long and profound lacquer culture has provided a solid foundation for the birth and growth of modern lacquer painting in China. At present, Fuzhou still gathers the largest lacquer painting art group in China, and spreads the excellent traditional culture of lacquer painting all over the world. Lianfu Culture's landing of this retrospective exhibition in Fuzhou is not only a tribute to the "Lacquer Capital of China" but also a return to the excellent traditional art of lacquer painting.
Approved by the State Council, the National Arts Fund aims to prosper artistic creation, cultivate artistic talents, create and promote high-quality masterpieces, and promote the healthy development of the art industry. The National Arts Fund adheres to the direction of "serving the people and serving socialism" and the principle of "a hundred flowers blooming and a hundred schools of thought contend", and adheres to the working principle of "facing the society, being open and transparent, making overall plans and taking into account the key points". Since its establishment in 2013, the project funding of the National Arts Fund has been based on exemplary and guided, and the evaluation is extremely strict, which comprehensively reflects the national art evaluation standard and the direction of creative advocacy. The funding of the project is not only an affirmation of Lianfu Culture's unremitting promotion of lacquer painting over the years, but also a major opportunity for the prosperity and development of Chinese lacquer painting art.
The exhibition will run until March 20.
Author: Wang Lilan, reporter of Straits Consumption Daily
Editor: Hong Meijuan
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