The Paper's reporter Li Mei
The phenomenon of a number of calligraphers and painters jointly creating a calligraphy and painting work is a common phenomenon in the history of Chinese painting and calligraphy, and bada shan and Shi Tao have cooperated in "Lanzhu Tu", and masterpieces such as "So Many Jiaojiao in Jiangshan" in the Great Hall of the People in Beijing are also the results of cooperation between Fu Baoshi and Guan Shanyue.
The Surging News learned that since August 8, the "Starlight Brilliant, Different and Harmonious - Shanghai Chinese Painting Academy Collection Cooperation Painting Exhibition" officially exhibited at the Cheng Shifa Art Museum in Shanghai is an exhibition based on the cooperation works of a group of famous artists such as Pan Tianshou, Wu Hufan, Liu Haisu, Xie Zhiliu, etc., with a total of more than 40 works (groups) and more than 80 works, showing the paintings with the characteristics of the times painted by the painters of the Shanghai Chinese Painting Academy in various periods, combined with different themes and painting languages.
On August 1, 1956, in order to commemorate the establishment of the Preparatory Committee of the Shanghai Academy of Chinese Painting, the painters Lai Shaoqi, Pan Tianshou, Wu Hufan, Liu Haisu, Xie Zhiliu, Cheng Shifa and other ten Chinese painters worked together to complete the landscape volume of "Breaking New Ground - The First Chapter of the Opening of the Ming Dynasty", and after the formal establishment of the Shanghai Chinese Painting Academy in 1960, the painters' cooperative painting was one of the important ways in the artistic creation of the Shanghai Chinese Painting Academy.
From left: Wang Gewei, Cheng Shifa, Zheng Mukang, Chu Mei Estate, Xie Zhiguang, Tang Yun
In the old photos of the shanghai Chinese Academy of Painting artists in the 1960s and 1970s presented at the Cheng Shifa Art Museum in Shanghai, it can be seen that the painters of the Shanghai China Painting Academy at that time, Wang Gewei, Cheng Shifa, Zheng Mukang, Zhu Mei Estate, Xie Zhiguang, and Tang Yun, collaborated in painting before a large painting case, each painter had a different look, Wang Zhifan pointed to the paper, Cheng Shifa held a palette, Tang Yun concentrated on waving, Xie Zhiguang squeezed a brush in his hand, ready to add content.
From left: Li Qiujun (back seater), Hou Biyi, Wu Qingxia, Chen Peiqiu, Pang Zuoyu, Zhou Junxia, etc. work together to paint
The old photographs also record the scene of female painters at that time, such as Li Qiujun, Hou Biyi, Wu Qingxia, Chen Peiqiu, Pang Zuoyu, and Zhou Junxia, who worked together to paint.
From left: Zhang Yanfu, Wu Qingxia, Zhang Yuguang, Cheng Shifa, Deng Huainong
As a material presentation of the collective creation of the painters of the Shanghai China Painting Academy, the cooperative painting not only allows the viewer to appreciate the spark of the painter's collision in the cooperation, but also is infected by their collective consciousness and spirit of cooperation. Each painter with a unique style and a distinct personality can "work together" with "different" brush and ink in the collective painting practice of co-painting to form an amazing work. This spirit of "different and harmonious" artistic cooperation that cares for each other and works together still has its positive significance today.
Exhibition site
The organizers believe that this exhibition not only enriches the public's impression of these Chinese painting masters, but also broadens people's understanding of Haipai art and new Chinese art, and the spirit of "different and harmonious" art cooperation presented in the painting still has its positive significance today, providing inspiration and reference for the current theme art creation.
In Chinese history, painting academies have existed since ancient times. After the founding of New China, in view of the difficulties in the livelihood of many Chinese painters at that time, as well as the inheritance and development of Chinese painting art, the Supreme Council of State in 1956 adopted Premier Zhou Enlai's proposal to establish a "Chinese Painting Academy" in Beijing and Shanghai, and formed the "Preparatory Committee for the Shanghai Chinese Painting Academy".
Inaugural Meeting of Shanghai Academy of Chinese Painting
As Lai Shaoqi later recalled, the Chinese painting academy to be established at that time was completely different in nature, "The purpose of our establishment of the Chinese painting academy was to serve the people. Therefore, although we borrow the titles of painter and painter, the names are different; our so-called painters and painters are given meaning to the new era. At that time, in addition to Fu Baoshi, Pan Tianshou, Tang Yun, Wang Geyi, Xie Zhiliu, Liu Haisu, Wu Lifu, Wu Hufan, He Tianjian, Chen Qiucao, Bai Shuo, Wang Dong, Shen Yinmo, and other members of the Preparatory Committee of the Academy, the academy initially tentatively set 53 preparatory painters, and in the end of the 69 painters, in addition to 56 formal painters, there were 13 honorary painters, including 9 female painters, such as Li Qiujun, Chen Peiqiu, Pang Zuoyu, Chen Xiaocui, Lu Xiaoman, Wu Qingxia, Zhou Lianxia, and so on.
Group photo commemorating the establishment of the Shanghai Chinese Painting Academy
Under the dispatch and deployment of the new society, the painters who no longer went to the market supported their daily lives in the form of a salary system. Under the circumstances at that time, many of their artistic creations were therefore closely centered on some themes.
In this exhibition, whether it is landscapes, figures, flowers, pen and ink, the brush and ink are in full swing, witnessing the painters of the academy with their own skills, harmony and difference. In terms of creation, in order to reflect the spiritual outlook and construction achievements of all sectors of society at that time, the painters went deep into the workers, peasants, and soldiers to eat and live with the masses and experience the real life of the people. For example, in the 1950s, Fu Baoshi led painters to paint real mountains and real waters throughout the country, advocating new Chinese painting. The obvious change in creation is that during this period, painters turned to the north and south, mostly in the landscape of the northern Shaanxi Plateau.
According to the information and related reports provided by Cheng Shifa Art Museum, a 3.48-meter-long hand-scroll in the exhibition, "Breaking New Ground", was created in 1956 and completed 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".
Eighteen sets of landscape cooperation albums, "So Many Delicacies in The Mountains and Mountains", are composed of all the painters of the Landscape Group of the Shanghai Academy of Chinese Painting who paint one work each. Including Mount Everest, Hangzhou West Lake, Wuhan East Lake, Guilin Landscape, Huangshan Mountain, Taishan, Jinggang Mountain, etc., Wu Hufan, who has never been to Mount Everest, painted Mount Everest with a red flag, Xie Zhiliu painted his favorite West Lake, and He Tianjian wrote about The Beigu Mountain in Zhenjiang.
Wu Hufan, "So Many Jiaojiao in the Mountains, Red Flags Planted on Mount Everest"
Xie Zhiliu, "So Many Delicate Rivers and Mountains, West Lake after Spring"
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"
Tang Yun, "So Many Jiaojiao in jiangshan, go east of the great river"
The co-painters in "Agricultural Harvest, National Day Vientiane New", which paints more than ten kinds of fruits and vegetables, include Tang Yun, Jiang Hanting, Zhang Dazhuang and so on. In 1958, when a delegation from the North Korean government visited Shanghai, the "East Wind Happy News Peony Opening" created by the painters was also unveiled in the exhibition.
The painters collectively created "Dongfeng Happy News Peony Kai" to welcome the North Korean delegation to Shanghai, 1958
Wu Lifu and Shen Maishi, "Fan Gua Lane", 1965
It is worth remembering that in 1973, after Lin Fengmian settled in the Shanghai Chinese Painting Academy, he also regularly participated in political studies and creative seminars organized by the academy on time. At the same time, he and Tang Yun and others collaborated on Chinese painting as a gift. He will also experience life with young and old painters of the Chinese painting group for the task of creating the landscape group painting "New Picture of the Yangtze River Wanli Exhibition" in the courtyard.
The exhibition also shows the "New Look of the Coil Workshop" cooperated by Ying Yeping, Zhu Mei Estate, Jiang Dazhong, Yu Wenhua, Cheng Shifa and other five people to highlight the new appearance of female workers in the new Chinese workshop, and Tang Yun, Lu Yushao and Zhang Shoucheng took Chairman Mao's poem "Red Rain Turns into Waves at Will, and Qingshan Intentionally Turns into a Bridge" and co-painted a landscape painting of the new period entitled "Qingshan Intentionally Turns into a Bridge".
Tang Yun, Lu Yushao, Zhang Shoucheng, "Qingshan Intentionally Turns into a Bridge", 1965
In the 1960s, when the Shanghai Academy of Chinese Painting held the Shanghai Flower and Bird Painting Exhibition in Beijing, it was extremely sensational, and the academy at that time gathered many of the best modern flower and bird painters, with the reputation of "half of the country". Subsequently, the Shanghai Academy of Chinese Painting began to organize the compilation of "Flower and Bird Painting Notation", and the participating painters were Xie Zhiliu, Tang Yun, Zhang Dazhuang, Jiang Hanting and other well-known painters, but none of them left their names. Compared with the outstanding personality characteristics of the painter's works, the painting methods in the "Flower and Bird Painting Notation" are easy to learn, easy to understand, authentic and authentic techniques, which are suitable for beginners. This score was once popular when it came out that year, and became a model for students of the Academy of Fine Arts and lovers of calligraphy and painting at that time. In this collaborative exhibition, these apprenticeships are also unveiled.
In the "Flower and Bird Painting Notation", the participating painters are Xie Zhiliu, Tang Yun, Zhang Dazhuang, Jiang Hanting and other painters
Part of "Flower and Bird Painting Notation"
Some time ago, the exhibition of Xie Zhiguang, Lin Fengmian and Guan Liang held by the Shanghai China Painting Institute also exhibited some cooperative paintings, such as a number of collaborative works by Guan Liang and Zhu Qizhan, who are known for their freehand and stick figures, and this cooperative exhibition once again presented some of the cooperative works of Guan Liang and Zhu Qizhan, such as "Drunken Mountain Gate Map".
Guan Liang and Zhu Qizhan 《Drunken Mountain Gate Map》
It is reported that the exhibition will last until December 6.
Editor-in-Charge: Lu Sijia
Proofreader: Yan Zhang