Artistic | A pen encounter through time and space

In the winter of 2021, the Guangzhou Museum of Art and the Guangzhou Academy of Painting joined hands to build a platform for communication with young artists, open up the boundaries between the museum and artists, bring the audience a deep appreciation of the collection, diversity, interoperability and sustainability, and promote win-win co-construction with the artist group.

Paying tribute to the master, when the young painter meets the ancient painter, thus colliding with the "Lucky Meeting" - the artist copying guide series of public education activities, starting from the "Art Sea Treasures - Guangzhou Art Museum Collection of Past Paintings Exhibition (Landscape Chapter)".

First, fortunately meet Su Renshan

Wu Jiecong:

He is a full-time painter of the Guangzhou Academy of Painting, a member of the Chinese Painting Art Committee of the Guangdong Artists Association, a director of the Guangdong Chinese Painting Society, and a special researcher of the Institute of Culture and Art of Peking University.

It has passed the winter, and the island of University Town is still windy and sunny. Walking through the garden-like sky and green corridors, we came to the studio of the young painter Wu Jiecong. Wood, stone, ink, paper, porcelain... Elements of traditional Chinese culture with different textures and atmospheres are all over the place. The most eye-catching thing is the fresh painting of an entire wall.

There were two landscape paintings that looked similar but were different. Wu Jiecong said that one is a pair of paintings, that is, a careful copy of the paintings, and the other is a meaning, that is, the original painting of the ancient painting god plus the self-created Yihui imitation painting - Su Renshan's "Playing Botu" in the Qing Dynasty is being exhibited at the Guangzhou Museum of Art 20 kilometers away. There is another painting, one that we are eagerly looking forward to, which has gradually enriched in Wu Jiecong's chest. There is also a method of copying: backlining, that is, memorizing the pen and ink chapter method by heart, and slowly taking off the manuscript. After saying that, he sat down at the table, and Ren Pen swam...

Playing With Botu

(Qing) Su RenShan

Collection of Guangzhou Museum of Art

2. Lucky Hirohito

Feng Miao:

Full-time painter of Guangzhou Academy of Painting, national second-level artist, special painter of the Southern Branch of the Calligraphy and Painting Institute of the Central Museum of Culture and History, director of the Guangdong Provincial Chinese Painting Society, director of the Guangdong Youth Artists Association.

The sun was abundant, the air was sweet, and the clear breath spread in every corner, on the top floor, where there was Feng Miao's studio.

Bamboo bird cages, copper teapots, small pottery, brick tables, gourds... The small objects collected by Cai Feng were placed with great interest on the blue soil cloth with the pattern of fish lotus. Crowded together, lively, there is a kind of idleness that crosses heads and ears. Green Rose was happy, like a river growing green.

At the tea table, the verdant bergamot lies on its side on a blue and white porcelain plate. On the rice paper, the white-winged gods and goddesses reined in the mountains where the water and moon were dripping. This is the ideal world that belongs to Feng Miao, whimsical and gentle and moist.

This time, she chose to copy the painting monk Hongren's "Waterfall", and during the exhibition, this sketch made many viewers stop and stare, not willing to leave. It's quiet, unworldly, gushing and flowing. No one came to congratulate him, and he was at peace. Is it Hirohito's ideal world? She will explore with her pen.

The Waterfall

(Qing) Hirohito

Third, fortunate to meet Shi Tao

Chen Huirong:

He is a full-time painter of Guangzhou Academy of Painting, a director of the Guangdong Chinese Painting Society, and a member of the Landscape Art Committee of the Guangzhou Artists Association.

Chen Huirong's studio is right next door to Feng Miao, but it is a completely different scenery. At one bend, it is confronted by an old carved wooden table with a plate of seasonal melon fruits, a pot of phnom penh tiger tail orchid, a porcelain toad on the left, and a cloth tiger on the right, calm and messy. On the wall, there is his "Journey map of the stream and mountain" by Linfankuan, and there is also a freehand masterpiece of cave theme, revealing the novelty of the landscape in the contemporary era.

On the painting table, there is a heavy "Complete Collection of Shi Tao Calligraphy and Painting". He opened the page he was about to copy, which read, "One of the Fourteen Miscellaneous Books of Calligraphy and Painting, Album Paper, 38cm× 24.5cm, 1690, Guangzhou Museum of Art." "The Guangzhou Museum of Art is the predecessor of the Guangzhou Museum of Art, and this seemingly inconspicuous sketch is included in it along with the classic paintings, occupying a full page.

Such a simple introduction can't stop the charm of the painting. Let the outside be as bright as spring, as Chen Huirong brewed, a stroke fell, bringing the people in this room into Shi Tao's "Autumn Rain" more than 300 years ago.

"Autumn Rain"

(Qing) Shi Tao

Exhibition: Art Sea Collection: Guangzhou Museum of Art Collection of Paintings of Past Dynasties Exhibition of Landscapes

Duration: August 20, 2021 – November 20, 2021 (Exhibition postponed to December 08)

Exhibition Hall: Guangzhou Museum of Art, 1st floor, Chinese Dynasty Painting Museum

Editor-in-charge: Yang Xiaojun