On May 12th, the "Screen Gathering Event" Ancient Screen Art Exhibition and the "White in White" theme exhibition were unveiled at the Shengjia Art Center at the same time. On the opening day, many collectors and art lovers gathered for this early summer art gathering.
The "Gathering Event" of Literati
The screen is a common furniture in the life of the ancients, with exquisite materials and fine carving, which is loved by literati and ink writers. Li Shangyin once wrote in the poem "Chang'e": "The mica screen candle shadow is deep, and the long river gradually falls, and the stars sink." The Tang Dynasty poet Lu Lun's "Song of Xiao Chang's Attendant Bo Pavilion" also has a sentence "The water spirit is ruyi Diao gold, and the mica screen is transparent and hides the light".
The "Screen Gathering Event" Ancient Screen Art Exhibition and Liu Chuansheng's "Screen" New Book Launch Conference were planned and organized by China Trade Shengjia International Auction Co., Ltd., Wanqiantang Ancient Furniture Art Museum and China Forestry Publishing House. The exhibition brings together the essence of the seat screen collected by many collectors, and is the first of its kind to exhibit the seat screen of classical furniture.
The exhibition is curated by Xue Shiqing, curated by Chen Yidan, Liu Jiabin and Liu Xu, and curated by Zhang Hanyu, Yang Bo, Chang Zhihao, Lu Haiyan, Feng Langquan, Liu Chuanjun and Liu Chuansheng.
The screen category under the category of ancient Chinese furniture has a pure origin and a long history. Since the advent of the pre-Qin period, through the Han and Tang dynasties to the Ming and Qing dynasties, it has gone through thousands of years of invention, creation, inheritance and development. It can be said that the system is huge, the context is clear, and the variety is complete. From the floor to the bed, to the case and the wall, it has everything to serve all aspects of human life. It can be said that as far as the utensils are concerned, there is only what you can't think of, and there is nothing that the ancients can't do.
Tomorrow night and early morning, Huanghuali Yunshi heart inkstone
Late Ming Dynasty Huanghuali green stone heart appreciation screen 68.5cm high
Under the category of screen categories, under the principle of dividing the functional role and taking into account the structural system and related standards, there are four categories of screens, seat screens, hanging screens, and kang screens, and more clear subdivisions of varieties. For example, there are floor seat screens, bed pillow screens, as well as several case appreciation screens, inkstone screens, niche screens, lamp screens, etc., or the system is the same and similar, or the system is different, and the function has its own different varieties.
In the late Ming Dynasty, fir black and red lacquer batch hemp gray painted gold appreciation screen 85cm high
Ming "Wanli" black lacquer inlaid luodian appreciation screen 59.2cm high
From the modeling system, material selection, production technology, artistic embodiment, cultural bearing and functional role, related years and other aspects, it shows the world the concept of the ancients' utensils, aesthetic pursuit and height, as well as the wisdom and wisdom of the ancient sages, reflecting the transcendent and free leisure feelings and ideological realm of the ancient literati, allowing the audience to glimpse and feel the artistic charm and cultural power of the screen.
A "white in white" field full of spatial aftertaste
The exhibition "White in White" is presented by Shengjia Art Center in collaboration with White Box Art Museum. The exhibition presents some of the works in the Modern and Contemporary Art section of the 2024 Spring Auction of China Trade Shengjia in the form of thematic group exhibitions.
Exhibition hall scene.
The exhibition presents the wonderful works of more than 30 artists since modernism, including Wu Dayu, Kim Changyeol, Lin Shouyu, Nobuo Sekine, Suga Zhixiong, John McLean, Liang Shaoji, Cai Guoqiang, Su Xiaobai, Liang Quan, Tan Ping, Li Xiangyang, Xu Hongming, Hong Hao, Chen Wenji, Gu Xiaoping, Xu Xiaoguo, Guan Yinfu, Zhou Yangming, Ma Shuqing, Xu Zhen, Zhao Zhao, Yan Bing, Ju Ting, Wu Wei, Cai Lei, Leng Guangmin, Jiang Miao, Chen Lizhu, Wan Yang, Han Dong, etc., through the artist's unique creative methods and artistic conceptsIt provides the audience with a different visual experience, and in the exhibition hall, they can feel the transformation of thinking and the transformation of consciousness.
As a language, white is the matrix of vision, and it is the root of painting. As a form, white is an objective and silent form, without needles and criticism, and pays more attention to the multifaceted nature of experience and feeling. Whiteness, as a concept, is an inner and transcendent existence, full of energy, with faith, and a non-visual intensity that visual art must face.
Exhibition hall scene.
The artists selected for this exhibition convey the interest of "whiteness" in their works, whether in language, form or concept. With the theme of "White in White", the exhibition presents a "White in White" field composed of works and works, works and spaces, full of spatial aftertaste. Each work is no longer just an independent work, but an opening of the entire place and state, allowing the audience to fully feel the subtle feelings and rich spirituality conveyed by the very few words in which the audience is fully experienced, and to feel the physical perception of being in it.
Exhibition hall scene.
Exhibition hall scene Wu Dayu "Untitled 113"
Wu Dayu's rare red oil painting Untitled 113 is also unveiled in this exhibition, which is particularly eye-catching in the exhibition based on white.
Untitled 113, as one of Wu Dayu's masterpieces in his later years, shows his artistic maturity and personality. In terms of art form, Untitled 113 is one of the only works in which red is the main color of the picture, and red and yellow, which are usually used as auxiliary colors in Wu Dayu's works, become the protagonists here, occupying the core and the broadest visual range of the picture, creating a special mood that is different from previous works. Wu Dayu is a master of integrating the essence of Western abstract art with the connotation of traditional Chinese culture, and has always had a unique pursuit of color expression.
This open-mindedness is also reflected in the expression of the brushstrokes of the work. Wu Dayu not only uses the combination of calligraphy brushwork and oil painting techniques to create the overall momentum and rhythm of the picture, but also shows his chic and relaxed state in his later years through the interlacing and change of lines.
In terms of content, Untitled 113 is a concentrated embodiment of the painting theory of "potential", which presents an abstract beauty that transcends objective objects through the combination of colors, lines and shapes. This kind of abstract beauty not only contains the formal beauty of objects, but also contains the connotation of the spiritual world, giving people profound thinking and understanding.
The scene of the exhibition.
The scene of the exhibition.
The reason why a work of art can transcend the times is not the establishment of concepts or material power, but the indescribable transcendent poetry contained in it. Perhaps, the very little materiality represented by "white" and the extremely rich spiritual color contained in it can lead us to the inner spiritual order, and can also lead our imagination to a farther journey.
It is reported that the "Screen Gathering Event" Ancient Seat Screen Art Exhibition will last until May 31, and the "White in White" theme exhibition will last until May 30.
Written by: Nandu reporter Huang Qian