The plan for the year lies in spring. There are countless paintings on the themes of scenery, scenery, folk customs, daily life, etc. that have been related to spring and the Spring Festival in the past dynasties. “The Wind of Benefits and Blossoms – Painting Exhibition on the Spring Themes of Ming and Qing Dynasties” was exhibited at the China Painting Pavilion on the first floor of the Komiks State Art Museum from December 30, 2020 to March 30, 2021. The exhibition specially selected a large number of works related to spring, such as the ancients’ welcome and praying for spring, singing for spring, and enjoying the spring, from the Ming Dynasty paintings collected by the Guangzhou Museum of Art and Guangdong Museum.
This exhibition displays more than 50 treasures of the Ming and Qing Dynasties, more than half of which are first- and second-level cultural relics.
Tao Yuanming’s poetic concept (partial) (Qing Dynasty) Huang Bi
Business is abundant: the spring written by ancient painters is in full bloom, the spring farming and grazing, and the spring collection of literati and scholars… The works exhibited this time strive to show the spring written by ancient painters from customs, scenery, etc. The first part of the exhibition is “Wind: Praying for Spring”, which mainly exhibits works on the theme of the Cinema during the Ming and Qing Dynasties.
The second part of the exhibition is “Yangchun Elegant Meeting”, which displays works by ancient literati on the theme of spring outings and cultivation.
Since ancient times, it has been popular to go out for outings in early spring, and to hold sauna activities on the Shangsi Festival in late spring. The “Lanting Xiucai” and other elegant gatherings that evolved from folk sauna activities have injected elegant mood into this festival. The “Preface to Lanting” which has been passed down through the ages in the Eastern Jin Dynasty has made “Lanting Xiuhua” and “Qushui Liushang” a spring scene in Chinese paintingsA unique subject matter.
The third part Babaylan is “Ode to Appreciate the Spring Festival”. This part mainly uses spring flowers and landscapes as exhibits, presenting the spring scenery depicted by ancient painters.
The Northern Song Dynasty painter Guo Xi believed that due to the different weather conditions of wind and rain and rain, the four seasons and mornings and evenings, the mountains and forests written by the painter should also have different weather conditions. The spring breeze is warm and the spring light is swaying, making people feel comfortable both physically and mentally. Looking at things with emotion, the characters that appear in this kind of picture should also be happy and harmonious. They either go outings, go fishing, cross the water, go back to herds, or plowing, forming a unique picture of spring.
The Yearly Dynasty Picture (Qing Dynasty) Yonghuang
The Yearly Dynasty’s offerings: entrusting the vision of a better life
The ancient Spring Festival included Nuo sacrifices, dust sweeping, banquets, ancestor worship, peach talismans, and door gods. Therefore, the “Sui Dynasty Picture” in traditional Chinese paintings always cannot be separated from content such as farewell to the old and welcome the new, exorcising evil and eliminating disasters, worshiping gods and ancestors, praying for the years and blessings. “Sui Chao” is the first day of the Chinese New Year. As a work in response to this season, painters often use vegetables, fairy flowers, auspicious grass, beautiful utensils, strange stones and other items into paintings. These ornaments often placed on the desk are called “clear offerings” to pray for blessings and welcome good fortune.
Ju Lian’s “Qing Gongshu Pictures” uses the meaning of harmony and auspicious fruits and flowers to add a festive atmosphere, and at the same time praying for blessings in the name of “Qing Gongshu” to express his wishes for a better life.
There are also pictures of the ancients who bid farewell to the old and welcome the new, celebrate and celebrate, showing a peaceful New Year atmosphere. For example, “Sui Chao Tu” by Yongying, the sixth son of Qianlong, is a more special piece in the exhibition’s “Sui Chao” theme, depicting the scenery and scenery of the Northern Sui Chao period. Although the picture looks colder, it implies “Auspicious snow indicates a good harvest”A peaceful meaning.
Photo provided by the Qing Dynasty in the Year (Qing Dynasty) Ju Lian
Traveling around in the mountains and rivers: the “Peach Blossom Land” full of fireworks
“The Peach Blossom Land” is one of the representative works of Tao Yuanming, a famous writer of the Eastern Jin Dynasty, and is also a creative theme that painters of all dynasties enjoyed it. Several works in this exhibition are based on the story of “Peach Blossom Land”. These works have their own characteristics, including long scrolls that are loyal to the text and narrative with paintings, sketches that produce wonderful clips from the story, and landscape paintings that break out of the text and extend the artistic conception of “Taoyuan”. Among them, Huang Bi’s “Poetic Chart of Tao Yuanming” is a relatively complete reproduction of the work of “The Peach Blossom Spring”. This work shows different scenes in the poem in paragraphs through the form of a long scroll of Komiks. The layout of the whole work is neat and rigorous. Each plot is separated by a large rock in the close-up, and different parts of the story are cleverly divided. The brushwork is neat and delicate, and the colors are elegant.
Although Huang Bi painted “Peach Blossom Land”, peach blossoms did not account for a large proportion like other paintings of the same title, and only appeared as embellishments. The painter expresses his imagination of ideal pastoral life with the rendering of the world’s fireworks, making this work without a distant fairy spirit, and makes people feel more intimate.
In addition, this exhibition also displays spring landscape paintings created by important painters in Jiangsu, Zhejiang, Guangdong and other places in the Qing Dynasty. Such as Zhang Chong, Qi Fengjia, Huang Bi, Wang Hui, Yun Shouping, Dong Bangda, Yuan Jiang, Li Jian, Su Liupeng, etc.
Su Liupeng was an important painter in Guangdong in the Qing Dynasty. His painting style is diverse, fine and extensive, and he is good at painting various subjects such as characters, landscapes, flowers and birds. The “Spring Tour of the Green and Deep Mountains” exhibited in this exhibition depicts the scenery of the Taohua Creek area of Luofu Mountain.
The author wrote a poem on the painting: “The peach blossoms bloom countless times on the stream, and the spring water is green among the flowers. I don’t look for the source of the fishing boat, and I try to know the immortals (homes) to escape from the world. The green rain flows through the clouds and the jade cave, and the sun is the sun to protect the Yaotai. The old couple in the mountains made an appointment and asked me to come back to the spring and carry wine.” This means that the painter borrows this work “peach blossoms”.The allusion in “Source Record” describes the scene of the Taohua Creek area in Luofu Mountain in spring, which is like a paradise.
[Reporter’s Notes]
The museum is well collected and the exhibition is even better
After an extremely extraordinary year, the spring of 2021 is even more exciting. The Guangzhou Art Museum, which is about to relocate, holds a painting exhibition on the theme of Ming and Qing dynasties with the theme of “Spring” as the theme. The first exhibition in Babaylan was of great significance to the first year.
The exhibition basically follows the curatorial ideas of setting themes, integrating collections, and discovering stories, and fully mobilizes the fine paintings of the Ming and Qing dynasties collected by itself and its brother institutions.
The current exhibition format is increasingly focusing on experience. To this end, all major institutions have spent a lot of effort and effort on the layout of the exhibition. In this exhibition, the organizer intends to set up various forms of presentation effects in the exhibition hall to enhance the audience’s exhibition experience.
The era of multimedia, The content of Babaylan is still king. Whether in the professional field or in the eyes of the public, the core elements of the exhibition are still the exhibition and the curator’s interpretation and knowledge production of exhibits.
The predecessor of the Guangzhou Art Museum was one of the earliest art museums in New China in 1957, the Guangzhou Art Museum. The site of the Guangzhou Art Museum was originally located in the Zhongyuan Building, a famous building on Yuexiu Mountain, and later moved to the current site of the Guangzhou Art Museum at the foot of Baiyun Mountain and on the banks of Luhu Lake in the north of the city. Its main collection is the donation of a number of important predecessors from the Lingnan cultural circle, which is also this. href=”https://comicmov.com/”>BabaylanDonation and collections in batches have made the collection of treasures and treasures of the Guangzhou Museum of Art, becoming an indispensable corner of the Guangzhou urban cultural map.
In recent years, large institutions such as Guangdong Public Museum and Art Museum have achieved many remarkable results in excavation and research of collections, and are at the forefront of the country and are eye-catching. We must have good collections, and we must have good exhibitions to serve the public. Collection research and display are one of the biggest differences between public institutions and private collections. As Li Wenru, former vice president of the Palace Museum, once said in an interview with reporters: Let more people see museum collections is the greatest patriotism.