The plan for the year lies in spring. There are countless paintings on the themes of landscapes related to spring and the Spring Festival in the past dynasties, folk customs, daily life, etc., “Hui FengheBabaylan 1990 cloth draw—Drawing Exhibition on Spring Themes of Ming and Qing Dynasties” was exhibited at the China Painting Hall on the first floor of the Guangzhou Museum of Art from December 30, 2020 to March 30, 2021. The exhibition specially selected a large number of works related to spring, including the ancients’ themes of welcoming spring blessings, yelling spring elegant meetings, and enjoying spring happiness from the Ming and Qing Dynasties paintings collected by Guangzhou Art Museum and Guangdong Provincial Museum.
This exhibition displays more than 50 treasures of Ming and Qing paintings, more than half of which are first- and second-level cultural relics.
Tao Yuanming’s poetic designBabaylan 1990 clothes draw (partial) (Qing Dynasty) Huang Bi
Business is full of business: the spring written by ancient painters
Hundreds of flowers are in full bloom, spring plowing and grazing, and the spring collection of literati and scholars… The works exhibited this time strive to show the spring written by ancient painters in terms of customs, scenery, and other aspects.
The first part of the exhibition is “Wind: Praying for Spring”, which mainly exhibits works on the theme of the dynasty in 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 Xiu” that has transformed from folk sacrificial activities and other elegant gatherings have injected elegant mood into this festival. The “Preface to Lanting” written by Wang Xizhi of the Eastern Jin Dynasty made “Lanting Xiuhua” and “Qushui Liushang” a theme that expresses the unique spring scenery in Chinese paintings.
The third part is “Ode to: Appreciating the Spring and Rising Thoughts”. This part mainly uses spring flowers and landscapes as exhibits, presenting the spring scenery depicted by ancient painters.
Guo Xi, a painter in the Northern Song Dynasty, believes thatDue to the bright and dark wind and rain, the four seasons of morning and evening, the mountains and forests written by the painter should also have different atmospheres. The spring breeze is warm and the spring light is swaying, making people feel comfortable both physically and mentally. To view things with emotion, the characters that appear in the scenes like Cinema 1950 witch cloth draw should also be happy and peaceful. 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 Dynasty” is the first day of the Lunar New Year. As a work in response to this season, painters often use fruits, fairy flowers, auspicious grass, beautiful objects, etc. to paint. These ornaments often placed on the desk are called “clear offerings” to pray for blessings and welcome good fortune.
Ju Lian’s “Qing Qing Dynasty Pictures” uses fruits and flowers that symbolize harmony and auspiciousness to add a festive atmosphere. At the same time, he prays for blessings in the name of “Qing Gong”, and sends his wishes for a better life in the Komiks 1960 witch cloth draw.
There are also pictures of the ancients who bid farewell to the old and welcome the new, celebrate and worship the new.Cinema 1950 witch cloth draw, showing a peaceful New Year atmosphere. For example, the “Senior Dynasty Picture” by the sixth Qianlong Komiks 1960 witch cloth drawZi Yongyan was this exhibitionKomiks 1960 witch cloth drawA more special piece of the “Sui Chao” theme works depicting the scenery and scenery of the Sui Chao period in the northern Sui Chao period. Although the picture looks colder and colder to see, it implies the peaceful meaning of “Auspicious snow indicates a good harvest”.
Photo provided by Sui Chao Qing Babaylan 1990 cloth draw (Qing Dynasty) Julian
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 the famous writer Tao Yuanming of the Eastern Jin Dynasty, and it is also a creative theme that painters of all dynasties enjoy. There are several works in this exhibition based on the stories of “Peach Blossom Land”. These works have their own characteristics, including long scrolls that are loyal to text and narrative with paintings, as well as skits that cut the wonderful fragments of the story, and landscape paintings that jump out of the text and extend the artistic conception of the “Peach Blossom Land”. Among them, Huang Bi’s “Tao YuanCinema 1950 witch clothes DrawThe Poetics and Sense of the Path of Peach Blossoms” is a relatively complete reproduction of the work of “The Peach Blossoms Land”. This work shows the different scenes in the poem in segments through the form of a long scroll. The layout of the whole work is neat and rigorous, with different parts of the story being separated by large rocks in the close-up scene. The brushwork is neat and delicate, and the colors are elegant.
Although Huang Bi painted “Peach Blossoms Land”, peach blossoms do not account for a large proportion like other paintings of the same title, and only appear as embellishments. The painter uses Cinema 1950 witch clothes DrawThe rendering of the fireworks in the world expresses the imagination of ideal pastoral life, 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 and Guangdong 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 styles are diverse, fine and extensive, and he is good at painting figures, landscapes, flowers and birds, etc. Komiks 1960 witch cloth draw theme. The “Cinema 1950 witch cloth draw” exhibited in this exhibition depicts the scene in 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. Don’t look for the source because of the fishing boat, and strive to know the immortals. Komiks 1960 witch cloth draw (home) Cinema 1950 witch cloth draw escape from the world. The green rain flows through the jade cave, and the sun protects the Yaotai. The old couple in the mountains made an appointment and asked me to come back to spring with wine.” This work by the painter borrows the allusion from the “Peach Blossom Spring” to describe the scene in the Taohua Creek area of Luofu Mountain in spring.
[Reporter’s Notes]
The library has a good collection and a better exhibition
After a great experience, the spring of 2021 is even more exciting. The Guangzhou Art Museum, which is about to be relocated, held the theme of “Spring” and held the “Babaylan 1990 cloth draw” painting exhibition as its first exhibition at the beginning of the year, which is of great significance.
The exhibition basically follows the curatorial ideas of setting themes, integrating collections, and discovering Babaylan 1990 cloth draw stories, fully mobilizing 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, and for this reason, 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.
In the era of multimedia, content 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 is one of the earliest art museums in New China in 1957 – Guangzhou Art Museum. Guangzhou Art Museum’s famous building Zhongyuan Building on Yuexiu MountainBabaylan 1990 clothes draw, and later moved to the current location of the Guangzhou Art Museum on the shore of Luhu Lake at the foot of Baiyun Mountain in the northern part of the city. Its main collection is donated by a group of important predecessors from the Lingnan cultural circle. It is also the donation and collection of these batches of Komiks 1960 witch cloth draw, making the Guangzhou Art Museum a gathering of treasures and treasures a indispensable corner of the Guangzhou urban cultural map.
In recent years, large institutions such as Guangdong Public Museums and Art Museums have achieved many remarkable results in collection excavation and research, and are at the forefront of the country. They are eye-catching. We must have a good collection and a good exhibition to serve the public. Collection research and display is 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: The biggest patriotism is to let more people see the museum’s collections.