China Report News (Geng Ling report) On May 17, students of the "Outstanding Cultural and Creative Teachers and Talents Class" of Dalian University of the Arts walked into the Dalian Branch of Beijing Zhengyang Art Museum to carry out research activities.
Director Wang Junsheng and others and teachers and students of the "Outstanding Cultural and Creative Teacher" talent class of Dalian University of the Arts
The theme of this research activity is "Appreciation of Ancient Chinese Art". It was guided by Mr. Wang Junsheng, director of Dalian Branch of Beijing Zhengyang Art Museum and executive vice president of Liaoning Cultural Industry Association.
In the Dalian branch of Zhengyang Art Museum, Mr. Wang Junsheng made a wonderful interpretation of the historical value, research value, collection value and inheritance value of the terracotta figurines, porcelain and other artworks collected in the museum from the Warring States period to the contemporary era, focusing on 147 pieces of porcelain from the Han Dynasty, Tang Dynasty and Song Dynasty. Taking the Qing Dynasty pastel hollow floral pattern hexagonal hat tube, the Yuan Dynasty Longquan kiln blue glaze flower pattern pot holder, and the Ming Hongzhi pouring yellow glaze depicting gold string pattern sacrificial ear respect as examples, the knowledge of ancient Chinese porcelain appreciation was taught to the college students present.
Director Wang Junsheng gave a lecture
To identify ancient porcelain, one is to look at the shape. Different eras and regions have different production techniques, living habits and aesthetic standards, so the porcelain produced has different modeling characteristics. It provides a basis for the identification work. In addition to mastering the modeling characteristics of porcelain in various eras and regions, it is also necessary to observe the methods of its modeling, and carefully observe the edges, abdomen, feet, ears, streams, handles, and ties of the utensils, and summarize the rules. The second is to look at the tire glaze. Due to the different components of the glaze and the different firing conditions, the texture, color and glaze of the firing are different, which becomes an important basis for identification. To identify enamel, it is necessary to pay attention to the characteristics of glaze color, gloss and density of bubbles. The third is to look at the process. Different forming processes, different firing methods, different firing temperatures and fuels will leave different characteristics on the utensils. The fourth is to look at the ornamentation. The ornamentation of utensils in each era and region has different styles and characteristics, and its differences are mainly manifested in the pattern themes, decorative techniques, decorative parts, etc., which reflect the different art appreciation, living customs, and production techniques of the local people at that time, and become an important factor for reference in identification. Fifth, look at the color material. Glazed porcelain often has its own characteristics in different periods and porcelain sites. Due to the different components of the color materials used, the preparation methods are different, and the firing conditions are different, so the color of the color materials is also different, and some differences are very subtle, and they will be found only after careful observation. Sixth, look at the knowledge. Words that are engraved, scratched, printed, and written on utensils. Different periods of knowledge have different text content, style, penmanship, structure, writing position, number of words, etc. These are also important bases for identification. The details of some paragraphs of penmanship, such as horizontal, vertical, apostrophe, pinch, hook, pick, point, shoulder and other characteristics, must be carefully experienced and contrasted, in order to see the authenticity. When identifying ancient porcelain, we cannot judge the authenticity of a certain aspect in isolation, and we must conduct a comprehensive appraisal in terms of shape, fetal quality, tire color, glaze color, craftsmanship, glaze color, and style.
Mr. Wang Junsheng's guidance is vivid and wonderful. In the immersive experience, the students learned a lot of common knowledge and knowledge about the identification of ancient Chinese artworks, and benefited a lot. In addition, Mr. Wang Junsheng also explained the current changes and future trends of the domestic art market, the dynamics and evolution of art trading policies and regulations, etc., which stimulated students' interest in the art market and laid the foundation for future academic research or career development.
The docent explained the ancient artworks in the museum to the teachers and students of the "Outstanding Cultural and Creative Teacher" talent class
The collection of terracotta figurines and artworks of the Dalian Branch of Beijing Zhengyang Art Museum includes the Han Dynasty, Tang Dynasty and Song Dynasty, and 147 pieces of porcelain, including the Warring States Period, the Han Dynasty, the Jin Dynasty, the Northern and Southern Dynasties, the Sui Dynasty, the Tang Dynasty, the Song Dynasty, the Yuan Dynasty, the Ming Dynasty, the Qing Dynasty and contemporary collections and works of national calligraphers and painters. Each collection has extremely high historical, research, collection and inheritance value. The museum adheres to the tenet of "focusing on the contemporary, taking into account history, basing itself on the city and facing the world", and adheres to the road of talent innovation. At present, it has gathered a team of China's top experts with Li Yanjun as the chief appraisal expert, and introduced a group of elite talents with rich experience in market operation, covering art exhibitions, appraisals, transactions, derivatives, etc. At present, it has reached strategic cooperation with many domestic museums, appraisal institutions, universities, financial institutions and online platforms. It is building an art financial center, a derivative business center, an art storage and transportation center, a college practice base, a primary and secondary school student visit and study base, etc., forming an art exchange platform integrating art creation, art communication, art marketing, art appreciation and art inheritance.
The Dalian branch of Zhengyang Art Museum is the off-campus practice base of cultural industry management of Dalian University of Arts. The "Outstanding Cultural and Creative Teacher Talent Class" participating in the research activity is a characteristic project of Dalian University of the Arts for the cultivation of outstanding applied talents. The "Talent Class" responds to the needs of application-oriented, innovative and compound elite talents in the cultural and creative industries, and aims to cultivate students' creativity, innovation and entrepreneurship, lifelong learning quality and lifelong development potential. Pay attention to practical and operational training, and realize the seamless connection between theory, experiment (practical training) and actual combat. Realize the integration of goals, elements and processes of innovation and entrepreneurship education and professional education, and explore the embedded collaborative education model of "professional + enterprise (industry) + project". Realize the "trinity" of "classroom teaching-enterprise practice teaching-training project incubation". Establish a teaching system of curriculum practice→ project practice → innovative practice. Open up the channel of "academic" and "practical", and teachers in the school and mentors from enterprises, industry mentors, and technical experts jointly undertake course teaching tasks. This research activity is the main component of the characteristic curriculum of the "Talent Class".
Observe and appreciate the calligraphy and art creations of Dean Liu Fengzuo and Dean Hu Haiyi
During the research process, the students of the "Talent Class" also observed and appreciated the calligraphy and art creations of Dean Liu Fengzuo and Dean Hu Haiyi. Impressed by the profound artistic attainments of the two masters, they burst into warm applause from time to time!
Editor-in-charge; Li Chuanjun