From May 28th to 30th, a weekend visual feast, "Wan Ma Tse-dan Film Works Screening", will appear at the Oil Painting Institute Museum of the China Academy of Arts. This is the enthusiastic effect triggered by the recent grand opening of the Oil Painting Institute of the China Academy of Art, "Forty Years of Looking at Chen Danqing's "Tibetan Group Paintings"", which has not only become an important exhibition that has attracted much attention in Beijing recently, but also aroused a warm response from the cultural circles.
The exhibition brings together seven oil paintings created by artist Chen Danqing in the 1980s, as well as more than 200 sketch drafts before the birth of the series of oil paintings and more than 200 sketches before the birth of the series of oil paintings, and runs from May 10 to June 10.
"Tibet Group Painting" is the name given by the outside world after Chen Danqing's graduation work was exhibited at the Central Academy of Fine Arts in 1980, and it is also his famous work, a total of seven paintings, completed in Lhasa and Beijing between 1979 and 1980. He abandoned the strong thematic thinking that was popular at that time, and directly depicted the daily life of Tibetans, which caused a strong sensation and widespread social repercussions in the art world at that time, and this move also ushered in a great turning point in the overall artistic creation.
In the field of painting, "Tibet Group Painting" directly led the Chinese trend of tracing the origin of European orthodox oil painting, beyond the single technique and aesthetics of Soviet and Russian oil painting at that time, although the creation borrowed from the French rural painting school, but still did not lose personal characteristics, the color mass was thick, and the brush was steady. At the same time, Chen Danqing focuses on the real life daily life of the surrounding, present, non-heroic and non-theme, and for the first time, he puts the pleasure of painting itself first, and naturally transforms the rough passion and monotonous idealism in revolutionary theme painting into a deep and rich vitality.
Among these seven works, the most widely known is "The Shepherd", which is the one with the most publications, citations, and exhibitions. "Shepherd" boldly and bluntly depicts a couple kissing, a pure passion through the depiction of the characters jumped on the paper, the man's back is strong and powerful, the woman's movement is slightly stiff but with a hint of clumsiness, the combination of the whole picture seems very harmonious. There is neither political significance nor dogmatic content in the painting, it is the first time that the theme of love appears on the canvas, without avoidance, without embellishment, it is the existence of different works in the creation at that time, so it has a different value and meaning.
Not only that, the true attitude of anti-Mannerism embodied in this group of paintings laid the groundwork for the domestic 85 new wave and modern art movement. The spiritual significance of "Tibet Group Painting" can be found more in the field of non-painting, as a representative of the new painting at that time, "Tibet Group Painting" together with the new literature of the same period and the new films of the fifth generation of directors later constituted the most important cultural picture of the 80s.
Forty years later, looking at Chen Danqing and "Tibetan Group Paintings", they still have high artistic and social value and continue to have an impact. Jia Fangzhou, a well-known art critic and curator, said: "'Tibet Group Painting' still stands there, it is a milestone in the history of Chinese art, and the past recognition will not waver to this day." ”
To this day, Tibetan themes still become a steady stream of artistic inspiration, and the "Wan Ma Tse-dan Film Works Screening" event will be held at the Oil Painting Institute Museum of the China Academy of Art to screen five works of "Quiet Ma Ne Stone", "In Search of Zhi Mei Gengden", "Tharlo", "Crashed into a Sheep" and "Balloon", and will hold three cross-border dialogue activities between Wan Ma Tse-dan and artists Liu Xiaodong, Yang Feiyun, Chao Ge, Lin Xudong and Chen Wenji.
Text/Beijing Youth Daily reporter Wang Yan
Editor/Cui Wei