On April 17th, the "Can See the Great Righteousness - Yang Mingyi Art and Documenta Exhibition", co-sponsored by the National Art Museum of China, the Propaganda Department of the CPC Suzhou Municipal Party Committee and the Kunshan Municipal People's Government, was launched at the National Art Museum of China.
In the early 1980s, with the oriental wind of reform and opening up, art creation strived for innovation in the wave of social development and the times. In terms of Chinese painting, the combination of decorative and interesting shapes with the abstraction and deformation of Western modernism produces color ink paintings with novel forms and quite anaecdotal atmosphere, which has become one of the characteristics of diversified diversity. At that time, Mr. Yang Mingyi attracted the attention of the painting world with his bright and fresh style of jiangnan charm.
According to 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, Yang Mingyi traveled far and wide to study in the United States. Immersed in a new cultural context, he began to pursue the "cosmopolitanism" of artistic language. Through the introduction of friends, Yang Mingyi met Wang Jiqian (1907-2003), a fellow countryman who had lived in the United States for many years in New York. Mr. Wang Jiqian is the fourteenth generation grandson of the famous Ming Dynasty minister and great literary scholar Wang Jun (1450-1524), Mr. Wu Hufan's personal disciple, is a famous collector, appraiser and calligrapher, the pen and ink not only has a deep traditional heritage, but also draws on the techniques of Western modern art. In 1998, I visited Mr. Wang during my study tour in the United States. Mr. Wang's abstract ink painting and collection of strange stones are an important part of his aesthetic and creation. After Yang Mingyi went to the United States, he borrowed Mr. Wang's home for more than a year. On the one hand, there are all kinds of and ever-changing modern art trends, on the other hand, there is national culture and nostalgia, and the cultural rebuttal produced by the environment has prompted Yang Mingyi to begin to deeply reflect on the "cosmopolitan" artistic language he seeks from the form.
In 1999, Yang Mingyi returned to his hometown of Qikuo for ten years. At this time, Suzhou is at the forefront of reform and opening up, and the modern civilization of the industrial park and the traditional culture with a long history shine together. Modern speed and modern ideas constitute the tangible or invisible streamlines in Yang Mingyi's eyes after returning to China, blocky surfaces and stars, and also brew his passion and heroism to depict the new appearance of Gusu again. Therefore, he created works such as "Today's Suzhou Paradise on Earth", "Bridge Town", "Azure Night" and other works that express the new elephants of the times, and practiced his new methods and new concepts of artistic creation in them, using a strong and clear artistic language to indulge in the voice of the wanderer: the moon is the hometown of Ming.
Today, Yang Mingyi lives in a studio on the outskirts of Beijing. Nearly eighty years old, he wandered in the bronzes, pottery figurines, Buddha statues and modern calligraphy and paintings collected for many years, interspersing with the ancients and talking to the former sages. The Chu Yun Han style and Tang Yi Song Shen presented by the shapes of these collections stir his soul from time to time. And the portraits and letters he treasured when he interacted with many contemporary artists often made him intersect and sigh endlessly, and whenever he recalled the friendship with his teachers and friends, he always told the story...
Holding a solo exhibition at the National Art Museum of China is Yang Mingyi's long-cherished wish for many years, which not only shows the artist's creative path in different periods, but also recreates his interaction with famous artists in the art world with letters, photos, manuscripts, collections and other documents. "These are all organic parts of an artist's entire life journey. The treasures of history, the creation of art, and the friendship of fellow travelers have become the perfect poem of life. ”
The exhibition is divided into three chapters: "Art Tourism Ink Painting", "Art Life" and "Art Circle Travel", and more than 100 works are exhibited. Yang Mingyi also donated one piece of zao wou-ki, Wang Jiqian and Shen Congwen who has been treasured for many years to the National Art Museum of China free of charge.
It is reported that the exhibition is presented in Halls 1, 8 and 9 on the first floor of the National Art Museum of China and lasts until April 27 (closed on Monday).
Text/Beijing Youth Daily reporter Wang Yan
Photo / Beijing Youth Daily reporter Wang Xiaoxi
Editor/Ying Qiao