Shenzhen Business Daily Reading Client Reporter Liang Ying/Text Han Mo/Picture
"Poetry is an invisible painting, and painting is a tangible poem." On June 25th, an exhibition full of "poetry and painting" opened at the Guan Shanyue Art Museum. As a blockbuster exhibition carefully planned for the 27th anniversary of the museum's founding, "Long Wind Tens of Thousands of Miles: Guan Shanyue and Landscape Poetic Painting in Modern Times" will intuitively present to the audience one of the core aesthetic characteristics of traditional Chinese art, "painting in poetry, poetry in painting".
Transcending time and space to connect traditional poetic and picturesque feelings
The same poem "Early White Emperor City", under the pen of Huang Yongyu, Li Xiongcai, Guan Shanyue, Tao Yiqing, and Jigu Mingjian, presents a picture of different styles. "Tens of Thousands of Miles of Long Wind" connects the artistic conception of traditional Chinese poetry and painting with a vision that transcends time and space. The exhibition is organized by Guan Shanyue Art Museum and Li Bai Memorial Hall in Jiangyou City, Sichuan Province, and supported by Shenzhen Museum, Sichuan Meishan Sansu Temple Museum, Sichuan Chengdu Du Fu Thatched Cottage Museum and other institutions.
The exhibition exhibits 55 pieces (sets), mainly 28 pieces of Guan Shanyue's landscape poetic paintings (9 of which are exhibited for the first time), including Zhu Yunming, Wang Shi, Wu Ling in the Ming Dynasty, Jiang Chenying and Zha Fang in the Qing Dynasty, and Zhang Daqian, Jiang Zhaohe, Yu Youren, Fu Baoshi, Feng Zikai, Huang Yongyu, Li Xiongcai, Qian Songrong and other representative works of modern artists. Among them, 1 national first-class cultural relic, 7 second-class cultural relics, and 18 third-class cultural relics are involved. In the exhibition signatures of many works, relevant poems are also marked to provide poetic annotations for the audience to deeply understand the pictures.
The exhibition begins with "Xing". "Those who are excited, they are also rising." The exhibition uses two frames of the illusion video of mountains and water as metaphors, transforming time and space into tangible and intangible, and by extension, presenting the morphological changes and spiritual conservation of culture and history, which runs through the exhibition. Part 1: Danqing Chanting. The exhibition takes the audience on a journey through the source of poetry, the macro level, the continuity of the context, and the characteristics of traditional Chinese culture. Part II: Contextual Continuation. In the time and space of the river of poetry, the literature and thought shine, nourishing and uninterrupted, and artists of different eras are persistent in the spirit of traditional poetry and painting. Part III: Mountain Moon Habitat. Guan Shanyue's poetic paintings reopen up new realms in the tradition, reflecting the diverse forms of poetry and painting. Part IV: Ode to Home and Country. During the period of New China, under the influence of Mao Zedong's literary and artistic thoughts, Guan Shanyue's contemporaries combined Chairman Mao's poetry to create, and the interplay of realism and romanticism made the spirit of poetry and painting unique. Epilogue: Yan. Nourished by poetry and seen by painting, the spirit of poetry and painting has a long history, and "Ode to the Long River" is not only the end of the narrative of the exhibition, but also the inheritance of the spirit of poetry and painting.
This year marks the 27th anniversary of the opening of Guan Shanyue Art Museum, and in the 27 years of growth, Guan Shanyue Art Museum has always explored and researched Guan Shanyue's art from a new perspective, connecting tradition and contemporary, constantly excavating collections, and committed to collection integration, academic exchange, and creative interconnection. Over the years, the museum has curated high-quality thematic research exhibitions such as "Building a New China", "The South Wind Blows the North", "Hatred Uses the Pen to Make a Difference", "The New Exhibition Scroll", "The Rejuvenation of the Earth", "The Light Boat Has Crossed the Ten Thousand Mountains", "The Camel Bell Outside the Saiwai", "Walking with the People", "The High Road Enters the Clouds", and "The Innovation of the Painting Road". This exhibition is also one in a series of exhibitions.
Guan Yi, the honorary chairman of Guan Shanyue Art Foundation and the daughter of Mr. Guan Shanyue, introduced that in the seventies and eighties of the 20th century, at the beginning of the establishment of the Li Bai Memorial Hall in Jiangyou, Sichuan, Guan Shanyue was contacted four times, hoping that Guan Shanyue would create Li Bai's poetic paintings as a collection, but for various reasons failed to bear fruit. However, three precious letters were left at that time, and this reason became an opportunity for the in-depth cooperation between Lingnan Shenzhen and many cities in Shudi.
The organizers said that "Tens of Thousands of Miles of Long Wind" is an exhibition that pays tribute to traditional Chinese aesthetics, and hopes that the audience can realize the beauty of traditional Chinese art through these precious poems, calligraphy and paintings.
Three exhibitions, paying tribute to tradition and facing the future
It is worth mentioning that this exhibition has been selected by the Ministry of Culture and Tourism for the 2024 National Art Museum Collection Exhibition Season, Chen Junyu, deputy director of Guan Shanyue Art Museum, introduced that as a national key art museum named after Mr. Guan Shanyue, a famous artist, educator and master of the Lingnan School of painting, Guan Shanyue Art Museum plans an exhibition of Guan Shanyue's works every year, with the main purpose of focusing on Guan Shanyue's artistic creation career and studying his artistic exploration and creation characteristics in different periods and contexts. This series of exhibitions has been selected for 11 times as an outstanding exhibition in the National Art Museum Collection Exhibition Season of the Ministry of Culture and Tourism, and 7 of them have won awards. This series of exhibitions seeks to explore Guan Shanyue's transformation and contribution to Chinese art in the 20th century from the perspective of art history and sociology.
In the past 27 years, from "studying Guan Shanyue" to "studying Guan Shanyue", Chen Junyu said that the continuous value of Guan Shanyue's research and its endless ideological resources have become the driving force for us to seek our own development, and we actively integrate into the process of urban cultural development, and obtain new growth points for the development of the art museum era in our own ways and efforts in our actual work. For example, "Contemporary Design Art Research", "Sifang Salon", "Heart of Youth", "Digital Art Museum", "Art Immersion Project", etc., the purpose of these exhibition brands is to transform the spiritual core of Guan Shanyue Art, a traditional oriental art, into a vibrant cultural resource for the development of modern society.
It is understood that on the occasion of the 27th anniversary, in addition to the "long wind tens of thousands of miles", Guan Shanyue Art Museum also launched the "Pilgrimage to Dunhuang - National Art Exhibition Exhibition" and "Point Painting - Beijing Fine Art Academy Painters Exhibition". The former exhibits 80 fine art works, as a cross-regional cultural exchange activity, on the one hand, to express respect for Dunhuang, an art holy land, emphasizing the inheritance and promotion of traditional Chinese culture and art, on the other hand, to encourage artistic innovation and breakthroughs oriented to the present and the future, to stimulate the creative vitality of artists, and to create more fine art. The latter is the "Birth of a Painting Series Exhibition" of the Beijing Academy of Fine Arts, which exhibits more than 40 pieces of Chinese paintings and oil paintings newly created by the painters of the Beijing Academy of Fine Arts. Focusing on how a painting was born, 28 in-service painters from the Beijing Fine Art Academy gave their own different answers. The exhibition uses self-confession to reveal the process of generating artworks, as well as the painter's reflection, retrospective, and examination inside and outside the creation, revealing a corner of the mysterious and unfamiliar "painter's work".