He Tianjian, Lai Shaoqi, Wu Hufan, Tu Ke, Wang Geyi, Pan Tianshou, Liu Haisu, Cheng Shifa, Xie Zhiliu, Tang Yun, Chen Qiucao, "Breaking New Ground", 1956
Wu Hufan, He Tianjian, Pan Tianshou, Zhu Qizhan, Liu Haisu, Guan Liang, Lu Yushao, Cheng Shifa, Tang Yun, Jiang Hanting, Xie Zhiliu... Each of these long lists of names shines in the history of Chinese art and has its own unique coordinates. People may not know that they actually share the same identity - painters of the Shanghai China Painting Academy, who left not a few collaborative paintings 50 or 60 years ago. Starting tomorrow, these little-known works will be gathered at the "Star-studded, Different and Harmonious - Shanghai Chinese Painting Academy Collection Cooperation Exhibition" unveiled by Cheng Shifa Art Museum, with a total of more than 40 pieces (groups) of more than 80 paintings.
This exhibition not only enriches the public's impression of these masters of Chinese painting, broadens people's understanding of Haipai art and new Chinese art, and the spirit of "different and harmonious" artistic cooperation presented in the painting still has its positive significance today, providing inspiration and reference for the current theme art creation.
Tang Yun, Lu Yushao, Zhang Shoucheng, "Qingshan Intentionally Turns into a Bridge", 1965
To understand the emergence of such a concentrated group of famous artists' collaborative paintings, it is necessary to understand the context in which they are created. In 1956, Premier Zhou Enlai proposed at the Supreme State Council the idea of establishing a Chinese painting academy in Beijing and Shanghai, and the Preparatory Committee for the Shanghai Chinese Painting Academy was established. The academy was formally established in 1960 and absorbed famous calligraphy and painting seal engraving artists active in Shanghai. Under the dispatch and deployment of the new country and the new society, painters supported daily life in the form of a salary system. Since then, their artistic creation has closely focused on socialist construction and gained a new look different from the past. "The collaborative painting of painters is an important way of artistic creation in the Shanghai China Academy of Painting. This is not only an effective way to draw a huge system of new national meteorology with the strength of many people, but also demonstrates the spiritual power of collectivism. Chen Xiang, president of the Shanghai Academy of Chinese Painting and director of the Cheng Shifa Art Museum, told reporters.
From left: Zhang Yanfu, Wu Qingxia, Zhang Yuguang, Cheng Shifa, Deng Huainong
The most eye-opening thing about the exhibition is that each painter with a unique style and a distinct personality can find his own value in the collective painting practice of collaborative painting, and they use "different" brush and ink "combined" to achieve a natural work. This kind of naturalness comes from the humble and gentlemanly demeanor of the painters - they complete their painting parts with restrained expression, leaving sufficient space for other participating peers to learn from each other's strengths, so that the picture finally shows the strengths of each family and achieves harmony and unity.
The painter collectively created "The East Wind Happy Report Peony Opening", 1958
A 3.48-meter-long hand-scrolled "Breaking New Ground" was created in 1956 by 11 painters such as Wu Hufan and Pan Tianshou. The "First Chapter of the Opening Of the Ming Dynasty" in the first volume of the volume is inscribed by Lai Shaoqi, and it is pointed out that this painting was "commemorated by the Preparatory Committee of the Shanghai Academy of Chinese Painting on August 1, 1956".
Zhu Qizhan "So Many Delicate Rivers and Mountains in the Motherland"
He Tianjian, "So Many Delicate Mountains in the Mountains of the World, The North Gushan Mountain"
Xie Zhiguang, "So Many Delicate Mountains in the White Clouds"
Eighteen sets of landscape cooperation albums, "So Many Delicacies in Jiangshan", are composed of all the painters of the Landscape Group of the Shanghai Academy of Chinese Painting in the form of each person drawing a work, in order to celebrate the establishment of the academy. Hangzhou West Lake, Wuhan East Lake, Zhoushan Peach Blossom Island, Guilin Landscape, Huangshan Mountain, Taishan, Mount Emei, Jinggang Mountain and other great rivers and mountains of the motherland are painted one by one, Zhu Qizhan, He Tianjian, Xie Zhiguang, Xie Zhiliu, Tang Yun and other famous artists show "miraculous powers", and even Mount Everest with a red flag, which is painted by Wu Hufan.
A painting with more than ten kinds of fruits and vegetables, "Agricultural Harvest National Day Vientiane New", gathered six flower and bird painters, including Tang Yun, Jiang Hanting and Zhang Dazhuang in the "Four Famous Dans of Flowers and Birds on the Sea".
Xie Zhiliu, "So Many Delicate Rivers and Mountains, West Lake after Spring"
Tang Yun, "So Many Jiaojiao in jiangshan, go east of the great river"
Wu Hufan, "So Many Jiaojiao in the Mountains, Red Flags Planted on Mount Everest"
In their collaborative paintings, the painters work together to explore the use of traditional brush and ink to express real life, especially the real life of the theme of modernization construction. In painting, the painter often uses new painting languages and image editing methods to make the picture present a balance of conflicting tension and tension. Such exploration has also made breakthroughs in the artistic innovation of Chinese painting, and has achieved the unique "new Chinese painting" and "new landscape painting" in the history of art.
From left: Li Qiujun (back seater), Hou Biyi, Wu Qingxia, Chen Peiqiu
Highlighting the new look of the new chinese workshop women workers, "The New Look of the Coil Workshop" is the cooperation of Ying Yeping, Zhu Mei Estate, Jiang Dazhong, Yu Wenhua, Cheng Shifa and other five people, depicting the shanghai electric machine coil workshop workers with modern machines to replace the manual operation of the labor scene, whether it is a female worker in overalls or a machine with a complex structure, have long jumped out of the traditional Chinese painting program.
In 1965, Tang Yun, Lu Yushao and Zhang Shoucheng took Chairman Mao's poem "Red Rain Turns into Waves at Will, And Qingshan Turns into Bridges" and co-painted a socialist pastoral landscape painting called "Qingshan Intentionally Turning into a Bridge", which expressed the painter's praise for the new life and new atmosphere. Also in this year, Wu Lifu and Shen Maishi collaborated on "Fangua Lane", located on the north bank of the Suzhou River, which is the first 5-story workers' village in Shanghai, witnessing an exciting history.
Wu Lifu and Shen Maishi, "Fan Gua Lane", 1965
It is worth mentioning that the joint efforts of painters in collaborative painting are actually fully differentiated on the basis of harmony and unity. And look at a group of four "Shanghai Spring" cooperated by Le Xiaoying and Ying Yeping in the 1960s, which is unforgettable with a large amount of blank space and washed pen and ink. Le Xiaoying is most famous for his comics, he draws people in this group of paintings, Ying Yeping complements the scene, and the wonderful collision of comics and Chinese paintings has a special charm. In Wang Zhongqing and Ying Yeping's 1959 "Blood for the Alliance", the words "Wang Zhongqing writes the character Ying Yeping supplement the scenery" can be clearly seen on the canvas, and the characters and landscapes are the strengths of these two painters.
Ying Yeping and Wang Guanqing, "Busy Construction of Snow and Ice Days", 1960
The painters of the Shanghai Academy of Chinese Painting have also taken on the responsibility of popularizing culture and art in a cooperative manner. In the 1960s, the Shanghai Academy of Chinese Painting organized painters to write the book "Flower and Bird Painting Notation", which introduced the basic techniques of flower and bird painting with concise and simple text and clear illustrations, which were participated by famous artists such as Wang Geyi, Jiang Hanting, Tang Yun, Zhang Dazhuang, etc. The painting methods are easy to learn, easy to understand, authentic and authentic techniques, suitable for beginners. At that time, this score came out and was all the rage. In this exhibition, these textbooks translated by famous artists for modern mass communication are also unveiled.
Le Xiaoying and Ying Yeping, "Shanghai Spring, Aigang Diligent Study", 1960s
Author: Fan Xin
Editor: Zhou Minxian