Source: Reading Special
"He Xiangning and the Chinese Women's Calligraphy and Painting Society: A Picture of the Chinese Women's Art Movement in the First Half of the 20th Century" will be exhibited at the He Xiangning Art Museum on October 23. This exhibition is one of the projects of the "2020-2021 Guangdong Provincial Art Museum Young Curator Support Program" and the beginning of the theme of "Chinese Women's Art in the 20th Century" of He Xiangning Art Museum.
"Tiger" He Xiangning, Silk Color, 63 cm×49 cm, Collection of He Xiangning Art Museum, 1910
"Stars in a Bottle" Guan Zilan The date is unknown, collected by the Guangdong Museum of Art
Bring together the wonderful works of 12 artists
The exhibition is divided into three parts, "The Awakening of the Nation and Women's Independence" based on he Xiangning's early art cases; "European Wind East Gradually Surpassing the Ancients" represented by female painters Of the Chinese Women's Calligraphy and Painting Association Feng Wenfeng, Gu Fei, Li Qiujun, Chen Xiaocui, Zhou Junxia, Wu Qingxia, and Lu Xiaoman; and 12 female artists who are active in the art world of the Republic of China, namely, "European Wind east gradually surpasses the ancients" by female painters Fang Junbi, Yang Yinfang, Guan Zilan, and Yu Feng, who are committed to exploring the integration of Chinese and Western art in the same period. It presents a picture of the women's art movement in the first half of the 20th century. The exhibition focuses on He Xiangning's relevant works and historical documents of the Chinese Women's Calligraphy and Painting Society, and many precious books, paintings, letters, etc. are exhibited for the first time.
Letter from Gu Fei to Huang Binhong Ink on paper 20.7 cm×17.6 cm Collection of Zhejiang Provincial Museum of the Republic of China
This special exhibition is based on the collection and literature of He Xiangning Art Museum, and is also supported by the collections of Guangdong Museum of Art, Shanghai Chinese Painting Academy, Zhejiang Provincial Museum, Shenzhen Museum, Liao Zhongkai He Xiangning Memorial Hall, Wu Qingxia Art Academy, and Shanghai Lu Xun Memorial Hall.
A picture of women's art in the early 20th century
In the early 20th century, He Xiangning, a Chinese female leader, experienced a series of social changes in her life at the end of the Qing Dynasty, the Republic of China, and New China. Her political career and life experiences are the epitome of China's modern and contemporary history, and she is deservedly praised as a great patriot, democratic revolutionary and famous painter. He Xiangning's paintings not only inherit the essence of tradition, but also involve more complex social and artistic propositions, and their importance is far ahead of the previous sages. He Xiangning's artistic practice is inseparable from the history of modern and contemporary Chinese painting.
Qingshan Mangrove He Xiangning, Li Qiujun, Zhang Yuguang, Li Zuhan, Qian Shoutie, He Tianjian Color on Paper 137 cm×69 cm Collection of He Xiangning Art Museum, 1954
"Guangzhou Zhenhai Lou", Fang Junbi, oil on canvas, 1944, Collection of Guangdong Museum of Art
He Xiangning's life experiences can help us understand the problems experienced by Chinese women's art in the first half of the 20th century. As the leader of The Early Women's Movement in China, the idea of women's emancipation advocated by her also inspired a generation of female art groups, the China Women's Calligraphy and Painting Society, a women's art society with historical significance.
The 12 female artists in this exhibition, He Xiangning, Feng Wenfeng, Gu Fei, Li Qiujun, Chen Xiaocui, Zhou Junxia, Wu Qingxia, Lu Xiaoman, Fang Junbi, Yang Yinfang, Guan Zilan and Yu Feng, were all active in the Chinese art scene in the 20th century. They represent the three identities of the female art group in the Republic of China painting world. In terms of artistic ideas, they are revolutionaries who dedicate themselves to society, new bridesmaids who inherit traditions, and new women who are committed to the Western painting movement. From the perspective of artistic orientation, they are all influenced by the ideological trends of the times and social changes, or inherit traditions, or study Western painting, or integrate Chinese and Western. Female artists represented by He Xiangning and Yu Feng are artists who resolutely devote themselves to the social revolution and take the reform of society as their own responsibility, and art is a powerful weapon for them to serve the revolution; Feng Wenfeng, Chen Xiaocui, Gu Fei, Li Qiujun, Zhou Junxia, Wu Qingxia, and Lu Xiaoman of the China Women's Calligraphy and Painting Association are female painters of the "Boudoir School", who are talented, good at poetry, calligraphy and painting, and while inheriting China's excellent traditional art, they embody the professional expansion of the new women of the Republic of China who stand on their own feet and bask themselves on calligraphy and painting; Fang Junbi, Guan Zilan, Yang Yinfang, Female artists represented by Yu Feng, who were enlightened by the idea of the Art Nouveau Movement, aimed at building a new art culture, and explored the true meaning of the integration of Chinese and Western art. They constitute a colorful world of female painting in the Republic of China period.
Colored Landscape Scroll Lu Xiaoman Color on Paper 39.8 cm×251.2 cm Collection of Zhejiang Provincial Museum, 1931
The three sections provide an in-depth presentation of the face of female artists
Entering the exhibition hall, the audience will find that the exhibition is set up with intentions, and the curator Fang Hua deeply analyzes the artistic practice and creative style of Chinese female artists in the first half of the 20th century for the audience through various methods such as art works, documents, catalogues, videos, etc., in order to let the public enter their rich inner and spiritual world.
"Amphibious White Head" Zhou Junxia Color on paper 38 cm× 38 cm Unknown Age Collection of the Shanghai Academy of Chinese Painting
Chapter 1 "The Awakening of the Nation and Women's Independence". At the end of the Qing Dynasty, intellectual youth also awakened sleeping Chinese women in order to seek the way for the Chinese nation to save its life and survive. In order to obtain an independent personality, women's schooling and employment is an independent way to get rid of compliance. In the painting circle of the Republic of China, He Xiangning is a creative individual with distinctive characteristics. This chapter is divided into three special topics, namely "The Homeland Has Gone through Years to Study and Go to Other Countries", "Women's Space and Role Transformation", and "Our Goal: Women's Movement and Salvation", and he Xiangning's works, pictures and documents tell He Xiangning's study in Japan, the origin of his artistic career, the fortunes of life and creative transitions, the idea of women's movement and the War of Resistance to save the country, presenting He Xiangning's artistic practice in social change, and her influence on a generation of female art groups as a pioneer of women in the Shanghai period.
"Fish Leap", Wu Qingxia, color on paper, 135 cm×68 cm, 1963, Collection of the Chinese Academy of Painting, Shanghai
The second chapter is "The Sea is Full of Colors." At the beginning of the 20th century, women changed from a pure family heirloom and a master-apprentice way to a multifaceted art training method, and women entered the art world by participating in social activities and organizing painting clubs. This chapter takes the Chinese Women's Calligraphy and Painting Society, which was established in Shanghai in 1934 as the main line, and has five special topics: "Guan Lingqunfang's Brilliant Pen", "Tianya's Foot, Plain and Innocent", "Cui Yin Lou Lord, Golden Pavilion Guoshi", "Century-old Golden Scales, Huiying Qingxia" and "Scenery That Must Not Be Seen", presenting the calligraphy and painting creations of Feng Wenfeng, Li Qiujun, Gu Fei, Chen Xiaocui, Zhou Lianxia, Wu Qingxia, and Lu Xiaoman and their social activities. Under the influence of the New Culture Movement, the establishment of the Chinese Women's Calligraphy and Painting Association marked the overall awakening of the subjective consciousness of Chinese female painters. With the help of the collective power of the community, they strive for the independent status of women's art, showing the unique value of women's art in the 20th century.
Li Qiujun 18.5 cm on paper×48 cm Zhejiang Provincial Museum Collection
Yin Liu, Yang Yinfang, oil painting, 52 cm×45 cm, 1934, Collection of the Guangdong Museum of Art
The third chapter, "The European Wind Gradually Becomes More Ancient." This chapter focuses on Fang Junbi, Yang Yinfang, Guan Zilan and Yu Feng, four female artists who are committed to modern painting and focus on realistic care, showing them in modern art education and new cultural movement ideas, breaking through secular prejudices, from deep boudoir to the world, bathing in the wave of Western modern art, and looking for artistic expression that integrates East and West. They broke through the limitations of the Artistic Orientation of the Chinese Women's Calligraphy and Painting Association and the female painters engaged in the creation of Chinese painting, widely absorbed Western modern art, integrated new concepts and techniques in artistic pursuit and artistic practice, and opened up a new artistic outlook and became their own. Based on modern realism, Fang Junbi, Yang Yinfang and Guan Zilan present the two special topics of "Chinese and Western Marginal Modern Boudoir Show" and "Oriental Shen Yun Art Trend", which integrate the artistic heritage of their own ethnic groups and highlight the vibrant appearance of modern Western painting. He also presents the historical interweaving of the two female revolutionary painters with the history of He Xiangning with the theme of "Revolution and Art, Paying Tribute to He Xiangning".
The exhibition catalogue of the same name was published
The exhibition's catalogue of the same name, He Xiangning and the Chinese Women's Calligraphy and Painting Society: A Picture of the Chinese Women's Art Movement in the First Half of the 20th Century, was published by Guangxi Normal University Press. The catalogue collects and sorts out the works and documents involved in this exhibition, and includes the research articles of experts and scholars who have long been engaged in women's studies, He Xiangning art research, and modern art history research, including Cai Ruiyan (director of Liao Zhongkai He Xiangning Memorial Hall, research librarian), Cai Xianliang (director of He Xiangning Art Museum), Wang Xin (director of the Theory Department of Shanghai Academy of Chinese Painting, first-class artist), Fang Hua (deputy research librarian of He Xiangning Art Museum Information Publicity Center), Chen Shan (deputy director of the Collection Department of He Xiangning Art Museum).
The curators guide the audience
The reporter learned that during the exhibition, a series of public education activities are planned, including "little docent" guided training, art workshops, academic lectures, etc.
The audience is watching the exhibition
It is reported that the exhibition will last until November 21.
(The original title was "Amazing!) This exhibition takes you closer to He Xiangning and the Chinese Women's Calligraphy and Painting Society in the first half of the 20th century"
(Author: Shenzhen Special Economic Zone Daily reporter Yin Chunfang text/photo)
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