The National Art Museum of China's annual Spring Festival special exhibition meets art lovers inside and outside Beijing as promised. "Beauty is Cultivating - The National Art Museum of China's 2021 New Year Exhibition Welcomes RuiNiu", with the image of the cow as the main body, exhibits nearly 600 famous masterpieces (including a small number of foreign art works) and some invited works collected by the National Art Museum of China.
Pan He, "Opening the Wasteland Cattle - Dedicated to the Shenzhen Special Economic Zone"
Combined with the concept of the Year of the Ox in the Chinese Zodiac, the exhibition composes a passionate melody of the spring of the Year of the Ox for the cultivators - Chinese and Western paintings appear together in the exhibition hall, and ancient and modern and contemporary works come together, from paintings to sculptures to exquisite arts and crafts works, from the upper and lower floors of the museum to the courtyard outside the museum, the entire art museum is completely connected together to become a beautiful garden.
Dong Xiwen ,"The Land of a Thousand Years Has Turned Over"
Zhu Naizheng "Chunhua Qiushi"
The power of the ox in the Year of the Ox
Images of cows can be seen everywhere in the exhibition hall.
Among them, there are classic paintings by Qi Baishi, Li Keyan and Dong Xiwen with the theme of "cow" in the collection, as well as the works of Liu Kaiqu, Wang Henei, Xiong Bingming and other famous sculptors with "cow" as the content, as well as paper-cutting, New Year paintings, Spring Festivals and other new creations that people like to hear about that embody the joy of life and the characteristics of the times.
The late sculptor Pan He's "Open The Wild Cow" is particularly eye-catching. This work, which has long become a symbol and totem of Shenzhen, hides an untold story behind it. At first, a sculpture of Dapeng spreading wings was proposed in the compound of the Shenzhen Municipal Party Committee, but Pan He thought it was inappropriate, on the grounds that after a few years, there would be many high-rise buildings, at which time Dapeng would be "trapped in a cage" and could not fly. Later, he proposed that the special zones that are in ruins and awaiting revitalization need to step up the construction of wasteland, and their generation is destined to "be a cow and a horse", to open up tomorrow for the next generation, and to be willing to be a cattle for reclamation.
Pan He revered Lu Xun all his life, and he associated himself with the pioneering cattle from his "widow cattle". Coincidentally, Xiong Bingming, who has wandered overseas and is concerned about his homeland, also loves this image. In the view of Wu Weishan, director of the National Art Museum of China and sculptor Wu Weishan, he cast in 1969 not only has the shadow of Western sculpture and poetic theory, but also is influenced by the condensed, dignified and commercial sculptures of ancient China, with an awe-inspiring, indestructible, eternal reason and hardness. Xiong Bingming himself said that this work shows the moment when he wants to rise up in the most difficult state.
Compared with the pioneering cattle and widowed cattle with a mission on their shoulders, Qi Baishi, an old painter who ushered in peace in the year of Sangyu, made "Red Cow Back Rain Silk" in 1952 is much lighter. In this painting for Lao She and his wife, a shepherd boy with a pigtail in the sky is lying on the back of an ox, facing upwards, holding a very thin line in his hand, and the kite floating in the upper right corner connects the child with the sky. The mighty buffalo moves forward silently, the drizzle is misty, and the poetry jumps on the paper.
Dong Xiwen, who created the epoch-making masterpiece "The Founding Ceremony", traveled to Tibet many times to collect style. The Land of the Millennium was his third trip to Tibet in 1963. The painter intended to express the new life of the local people after the liberation of Tibet and the abolition of serfdom. With the blue sky and towering snow-capped mountains as the long-range view, and the Ugin-like mud as the close-up, the work depicts the heroic gesture of Tibetan women driving yaks to reclaim the fertile plateau with rustic brushstrokes. As the painter himself reveals: "The new soil that has been shoveled up by the plough is sparkling, and the wet soil of ripe brown and the dry soil of cocoa color need to be processed by image, so that they emit an indescribable fragrance." ”
Also based on the snowy plateau, Zhu Naizheng's 1972 gouache painting "New Mamba" depicts PLA medical personnel braving the wind and snow to rescue Tibetans. The surrounding area was white, the air was thin, the clouds were rising, and the morning sun reflected the smiling faces of the Tibetan sisters and brothers who came to meet them. The breath exhaled from the yak's nostrils was permeated in the morning light, and the hope of the new life filled the hearts of the three young people.
Huang Yongyu, "My Motherland, My People"
Draw a picture of the vicissitudes of change
Tiananmen Square is the heart of new China, and people from all over the country gather here to watch the flag raising and admire the martyrs.
The late Sun Zixi, an oil painter at the Central Academy of Fine Arts, often wandered the square, brewing a painting with Tiananmen Square as the background. Finally, in 1964, he created the most representative of his life, "Before Tiananmen". The theme of the work is the group photo of people who visited Beijing after the founding of New China in front of Tiananmen Square, expressing the people's infinite love for the motherland. The work boldly draws on the visual effect factors of Chinese folk New Year paintings, deliberately weakens the relationship between light and shade of natural light, and sets off the red wall and yellow eaves with blue sky and white clouds, creating a festive and sunny atmosphere. The 12 character groups of different identities, ages and genders carefully arranged in the foreground, together with ethnic minorities and naval soldiers on the left and right sides of the middle scene, as well as kindergarten children who slowly walk from the Jinshui Bridge in the distance, completed the narrative combination of typical characters and typical environments, vividly interpreting the significance of the era when the people are the masters of their own affairs.
Also using typical environments to create typical characters, Li Keyan's 1952 New Year painting "Labor Model Garden Tour Conference" depicts the scene of workers and peasants from all over the country visiting Beihai Park. The painter uses an aerial perspective, with the white pagoda on Huxin Island as the background and the archway leading to Huxin Island as the center, depicting the happy mood of labor models greeting each other. The people are the masters of their own affairs, and the royal garden, which was once the exclusive property of the emperor, has ushered in a real master.
The Yellow River is known as the mother river of the Chinese nation and is a symbol of the endless life of the Chinese for thousands of years. Although Fu Baoshi takes the construction of the Sanmenxia Power Station on the Yellow River as a narrative scene, he weakens the event itself and highlights the meandering waterway of the Yellow River. In the "Yellow River Qing" created by this conception, the two telephone poles on the cliffs along the river in the close-up view are condescending to overlook the heavens and the earth, expressing the heroic ambition of the working people after the founding of New China to "fight the heavens and the earth, dare to call the sun and the moon for a new day" under the leadership of the Communist Party of China. Fu Baoshi injected a new era of weather into the mountain and river formula in traditional Chinese ink painting.
In terms of background, there is nothing more beautiful and profound than spring. Although Wu Guanzhong's masterpiece "Spring Breeze and the South Bank of the Green River" depicts the scene of the early spring season in the south, it heralds the spring of the entire motherland. Everything arises from a small seed, from a tree root in the lower left corner, pulling out a rolling branch. Full of green, mixed between the lines of ink, yellow dots, pink dots, green dots, like flowers like fog, stirring up people's spring feelings. In the midst of the red and willow green, in the upper left corner of the picture, there is a small stone bridge, bending and arching, setting off everyone's intention to step on spring. Although only two little people in red jackets are embellished, they raise infinite expectations in the hearts of viewers and ignite the hope of the new year. Thousands of purples and thousands of reds are always spring, spring is pregnant with endless expectations, and spring carries the morale of the Chinese nation.
Fang Zengxian,"Every Grain is Hard"
Wu Guanzhong, "Spring Breeze and the South Bank of the Green River"
The people cast the cattle
As of 2020, there are still more than 500 million farmers in China. The croppers worked tenaciously and multiplied on this land. After the founding of New China in 1949, how to ensure that the people have enough to eat under the condition of many holes has become the direction of the concerted efforts of all Chinese. Fang Zengxian's 1955 "Grains are Hard" keenly felt the social atmosphere at that time, through a close-up shot, depicting the details of farmers crouching down to pick up the ears of wheat that fell from the cart, seeing the big picture in a small way, advocating the trend of cherishing grain in the whole society.
With the basis of the means of production provided by the broad masses of the peasants, the working class shoulders the heavy responsibility of being transformed into industrial products. In 1981, Guang Tingbo, an oil painter living in Dalian, ran a steelmaking mill for more than three months, squatting next to the steelmaking furnace, drawing a large number of scene sketches, and finally condensing into this painting "Molten Steel Sweat". As soon as the work was released, it immediately aroused a strong response from the society. Today, this work, which reflects the Chinese catch-up with the pace of the world at the beginning of reform and opening up, has long become a classic of the times and is collected at the National Art Museum of China. The painter shows the blazing temperature of the steelmaking workshop in warm tones. A young steelmaker with a resolute look on his face had just drunk a large cup of soda salt water, and beads of sweat were rapidly oozing from his pores, flowing rapidly down every inch of skin, soaking his whole body, like an old cow pulling a plough in the field under the scorching sun, no matter how tired he was, he could not defeat the fiery energy.
People often call writers people who work on paper. The writer Barkin's life's writing is closely related to the nation. In his later years, he published Caprice, which recalled the past life and the phenomena of the times in prose style. His pen is like a scalpel, not only reaching out to society, but also mercilessly imposing itself on itself. The Belarusian artist Sergei Selikhanov met Barkin himself during a visit to China in 1957. He had already read his novels, and this meeting left a deep impression on him, so he had the desire to create a statue. After returning to China, he created this bronze bust "Barkin Statue" with passion. The sculptor captured Barkin's often sideways contemplation. Neat short hair, slightly wrinkled brows, closed lips, the image of an "old scalper" in the pen world dust in the memory of metal.
Beauty is cultivated, especially in the Year of the Ox. In the vast land of the motherland, there are builders everywhere, and the protagonist is always the people. The people's hard work and pursuit of beauty lies not only in material, but also in the spiritual desire for beauty. Looking for this vein, encountering the exhibits one by one, or more able to appreciate: in the field of hope, as long as you bury your head in hard work, you can go all the way to the "cow".
Visitors to the temple
The Opening and Closing of the Spring Festival at the National Art Museum of China has long been known
The museum is closed on February 11 (Chinese New Year's Eve) and will be open normally from February 12 (the first day of the first year) to February 17 (the sixth day of the first month).
Opening hours: 9:00-17:00 (last admission at 16:00).
It is necessary to make an appointment 1-7 days in advance on the official website of the National Art Museum of China or the WeChat public account with the second-generation ID card or passport information, and the number of daily reservations is 1800 people, until the quota is full. Seniors who have reached the age of 60 and hold an old age certificate or ID card can register directly at the reservation window of the National Art Museum of China.
(Original title: Beauty in cultivation, all the way to "cattle")
Source: Beijing Daily Author: Wang Jiannan
Process Edit: l021
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