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Who Was Zheng Jin? ...

2019-01-03 235 people interested

Zheng Jin, a famous artist and art educator, was appointed as the first Principal of the Beijing Art School in 1918 and an important pioneer of modern Chinese art education.Art Chronology of Zheng Jin1883         On the 21st day of the first lunar month, he was born in Sanxiang Yongmo village, Xiangshan, Guangdong (now Zhongshan). His father was Yu Chigong who good at painting.1888         He studied at a village school.1897         He followed his sister to move from Xiangshan to Yokohama, Japan and entered Datong School. He went after Liang Qichao, Lin Huiru, Zhong Zuojing and Zhang Yutao and had traveled for three years.1901         He graduated from middle school.1902         He went to Tokyo to study Western painting.1907         He enrolled at the Kyoto City University of Arts to learn painting skills.1910         On the 14th day of the second lunar month, he married Bao Guie in Yokohama, Japan.1911         He graduated from Kyoto City University of Arts, specializing in Japanese Painting. Then he went to study at Kyoto City Art School and learned landscape painting with Yamamoto Shunkyo. He lived with Chen Shuren and Bao Shaoyou in Kyoto.1913        His work “Grace” was selected in the 7th Art Exhibition of Japanese Ministry of Education. He first met Gao Jianfu and Gao Qifeng.1914       His work “Waiting for Dawn” was displayed at the Tokyo Taisho Exhibition. He graduated from Kyoto City Art School. His graduation work “Parrot” (also known as “Leisure”) was purchased and collected by the school. After returning to China, he lived in Gongmenkou, Xizhimen in Beijing.Zheng Jin, Self-portrait, about 1915, Oil paintingZheng Jin and his family in Gongmenkou1915        He went to Tianjin to visit Liang Qichao, and Liang Qichao wrote an article “Introduction of Works by Zheng Jin” for Zheng Jin. He brought the article to visit Zhang Yilin. He taught graphic design in Beijing Higher Normal School.1917        He organized and established an art school under the order of the Ministry of Education and started to recruit students in 1918. He was appointed as Director of Beijing Art School by the Ministry of Education.The main entrance of the auditorium of the Beijing Art School1918       On April 15, the opening ceremony of the Beijing Art School was held in the Qianjingjidao, Xicheng, and then Chief Education Minister Fu Zengxiang, Vice-minister Yuan Xitao, Cai Yuan Pei, President of Peking University, and headmasters of other national institutions of higher education in Beijing as well as many guests attended the ceremony. At the same year, the Ministry of Education approved the establishment of the higher education department and higher normal department in Beijing Art School.1919        He served as the tutor of the “Painting Research Association” of Peking University and taught watercolor.1920        With Chen Shizeng, Xiao Junxian, Wang Mengbai, Yao Hua, Wu Ling and other teachers of Western painting, he organized “Huayin Art Association” and created “Magnolia and Peacock”.A group photo of “Chinese Art Association”, including Chen Shizeng (the second from left), Zheng Jin (the first from right), etc.1922         The Ministry of Education appointed Zheng Jin as the Principal of Beijing Art School and issued the school seal. On November 10, the school held a special school celebration, in which then Chief Education Minister Tang Erhe, Vice-minister Cai Yuanpei, and principals of other seven national institutions as well as many guests were present.1923         He cooperated with Gao Shuda, and painted illustrations for a set of four copies of “Thousand Characters for a Civilian Class” of the “China Civilian Education Promotion Association”.1924         He resigned as Principal of Beijing Art School.1927        With an invitation from Yan Yangchu, Zheng Jin was employed by “China Civilian Education Promotion Association” to host the “Intuitive Audiovisual Education Department”. He moved to the countryside, Ding county, Hebei province to promote the civilian education movement. The Ministry of Education of Beiyang government changed the name of “Beijing Art School” into “National Art School”.Zheng Jin’s residence outside Ding county, Hebei provinceA corner of Zheng Jin’s house in Ding county, Hebei province1928          His work Civilian Education and Civilian Art was published by Shanghai Commercial Press.1936          He was invited by Sun Zhesheng, Wu Tiecheng, Yang Ziyi from the Guangdong Provincial Government, to return to his hometown in Zhongshan county, and became the president for the “Rural Construction Committee of Zhongshan County”.1937          The Anti-Japanese War broke out, and he arranged his family to return to his hometown from Beijing. He created “Eagles Fighting”.1940          He took refuge in Bao Shaoyou’s home in Baishi village, Zhongshan county. After the fall of Zhongshan, he moved to Macao and lived at Gaoshide road. He created “Hoofbeat in the Forest” and “Strong Wind in the Green”.Zheng Jin in Hong Kong, 1941 Zheng Jin and Zhao Shaoang, 1941 A group photo of Zheng Jin, Bao Shaoyou and others, 19411941         “Zheng Jiongchang’s Painting Exhibition” was held in No.32, Avenida do Ouvidor Arriaga, in Macao. “Zheng Jiongchang’s Charity Exhibition” was opened at Macao Chamber of Commerce. He created “Washing” and “Picking Chrysanthemums under the Eastern Fence”.1943          In Winter, he began to collect pictures of horses for the creation of “Spring Returning to the Earth”.1944           He moved to Zheng Huixi House, near Puji Temple to paint, and because the picture was too large, he returned to Ren Xinan’s place in Erlonghou to frame “Spring Returning to the Earth”.1945        “Zheng Jiongchang Exhibition” was held at Macao Rio Hotel. He created “Peach-blossom Face”, “Bouncy Deers in Spring”, “The Old Tree Greeting the Spring”, “Swan on Autumn Water”, “Spring in the Southern Area”. He moved to Qingzhou.1946          After the victory of the Anti-Japanese War, he returned to Zhongshan and served as head of Sanzhou township and principal of Central National School.1948          He resigned as head of the township and painted at home.1949          He resigned as principal of Central National School. 1952          He was issued with a Macao identity card and signed as Zheng Yunquan.1955          He created “Beautiful Peacocks in the Pine Forest”.1956          He participated in “Macao Art Research Association”.1957          He painted “White Chicken in Spring Garden”, “Comb of Meleagrididae”, etc.1958          He made “Contending in Beauty”, “Two Cranes in the Morning”, “Stop Playing Music in the Pavilion”, “Two Standing Kings”, “Beautiful Peacocks in Autumn Garden”, “Swimming Fishes and Singing Birds”, “Picking Lychee”, etc.Exhibition site of Zheng Jin’ final works after his death. From left to right: Luo Xiandu, Luo Deji, Madame Bao, Zheng Meicheng, Huo Baocai, Bao Shaoyou, Fang Shouhong, Miss Bao, Miss Bao, Bao Huixian.1959            On March 28, he died in Macao Jinghu Hospital. On June 15, an exhibition of Zheng Jiongchang’s works was held at St. John Church in Hong Kong.1997          His third daughter Zheng Meicheng donated his father’s collection of famous paintings and calligraphy, a total of 13 pieces, to the Taipei Palace Museum.2001              The Department of Culture and Sports of Macao Provisional Municipal Council organized “A Memory Exhibition of Zheng Jiongchang” in Macao.Excerpt from: Chen Jichun, Zheng Jin Art Research ...More

单纯素净 至诚无息 ——油画家、美术教育家李瑞年的艺术品格...

2018-12-21 269 people interested

作为20世纪中国本土的第一代油画家、美术教育家,李瑞年和很多同代画家一样,似乎正在被历史的浮尘渐渐遮掩。甚至在中国百年油画史的文本书写中,他的名字也常被一笔带过,淹没于令人趋之若鹜的对“主流”大家的聚焦视野之中。有多少人知晓,在中国油画的早期发展史上,这位以风景油画和素描见长、曾被徐悲鸿称为“中国油画风景第一”的大家,对于那个时代中国油画与美术教育的影响,在今日是被远远低估的。与李瑞年先生朴素静默、平易沉着的人格一样,他的创作质朴淳厚、严谨平实,具有自然主义的求真力量和印象主义的抒情精神。从他在20世纪40年代到80年代创作的近百幅油画、素描作品中,可以看到他在艺术创作上付出的心血,以及那一代中国本土油画家们为中国油画的发展所做出的努力。苦涩诗境:自然主义的风景意象与李瑞年同代及其学生辈的画家在谈到他作品风格的时候,都不约而同地使用了“自然主义”一词来界定他的创作,而这一语词在今天仍在使用的西方现代美术诸流派名称中是很少提及的。徐悲鸿在二十世纪四十年代初曾称赞李瑞年的风景作品“质朴隽永,手法严谨,是极为可喜的自然主义,是抒情诗。”画坛的“自然主义”意味着何种风格?显然,徐悲鸿所说的“自然主义”,与以左拉、福楼拜等为代表的法国自然主义文学流派所标榜创作倾向的客观性不能等同,而是更接近于某种现实主义的分支,主旨是表现生活中的自然美,并透射出淡淡的诗意。事实上,现实主义的精神也是李瑞年一直以来的追求。据李宗津的回忆,“瑞年先生最喜欢的画家是珂培(库尔贝,Courbet)。他的确得到了这位自然主义大师的大部优点——坚实,沉着,深刻——在平淡中孕育着造化的神灵”“在他的画里所能感到的显明的中国风的宁静及温和足以说明这点。他已舍弃了欧洲19世纪时自然主义的物质主义倾向拘束,而运用自然主义的优点来表现自己的精神。”[i]这里的自然主义,实际上是以现实主义为基础,又经过19世纪末印象主义熏陶的风格。正因如此,李瑞年的画呈现出介于古典与现代之间的风格,总体上更趋于西欧传统的学院派与18、19世纪的法国风景画派,但在构图和造型上却渗透着印象派的表现主义味道。吕斯百评价“瑞年先生作画喜欢正方,也是特点,至于用色结构,无不苦心经营,老练周到,由树枝的钩描,就可见到素描的功夫,他是北方人,同时在北欧研究油画,当然有双重的传统,影响他的作风,所以我们要用现代的所谓‘新派’理论来论衡他的艺术,就毫不相干了。”[ii]天真简约,绚烂之极归于平淡,是李瑞年作品留给观者的最深印象。艾中信说李瑞年的画“文质相称,道其中庸”、“醇厚朴质”,“他的作品最初给人的印象是平易的,你如果漫不经心地走过,它决不先和你打招呼,但如你对它注意上几分钟,你将会感受到它潜藏着的吸引力,是那样的持久而无穷,不绝如缕。”[iii]而吴作人评价李瑞年的作品中“有一种内涵的毅力”,“它不是表现在勾画披离,不是在语言惊人,不是哗众取宠,而是在待人以诚,待自然以诚。”[iv]待自然以诚,道出了李瑞年油画创作的最大特点,这种真诚对于一个风景画家来说至关重要。冯法祀说李瑞年的画“朴实无华,坚定不浮”,“绝无火气,沉思默念”,具有一种“内向的默示”。其色彩特点是,“他是不喜欢用明快之色,他的色阶是不宽的,但他在有限制的色阶的两极,却分析出无限的层次,因此他的色彩明暗精细而准确,色彩性质沉着而坚定,我们可以说他对于灰色调的运用是胜任而愉快。”为此,冯法祀在猜测李瑞年作画过程时说,“我设想他的调色板是不清除的,这样更便于追寻过去的色调”[v]李瑞年的画总是迷恋一种微妙的中间调子,即把焦点放在中景部分,从不刻意拉大色调的色差或整合冷暖倾向。上世纪40年代初,他曾用灰调色彩和色块层叠的方法,表现陵谷纵横、晴雾变幻的四川风景的特点。《沙坪新村》、《嘉陵两岸》、《石门》、《待渡》等作品都是这一时期的佳作。《沙坪新村》画的是重庆沙坪坝附近小龙坎的风景,几棵树木歪斜的枝桠极富韵致,背衬重庆特有的灰色天空,中景的菜畦颜色微妙,灰中带绿,透明、清澈而滋润。徐悲鸿很喜欢此画,在四川挂在当时“中国美术学院”的会客厅,搬来北京后挂在北平艺专的会议室。[vi]沙坪新村  1944年  油画  81×81cm与此同时,李瑞年创作态度的严谨也是被熟悉他的同行们所公认的。这一方面表现为他并不是一个高产的画家,另一方面也可以从同代画家的描述中得到印证。1945年李瑞年在重庆举办油画个展,傅抱石作序对于其创作的认真严谨的欣赏溢于言表,他把李瑞年对于艺术创作的严肃态度比作“虔诚的宗教徒”,甚至诙谐生动地形容“他每一幅完成的画都好似伺候一位崇高而可爱的女朋友一样缜密、亲切,低首下心,从画布四周的钉子到外框的图样和颜色,甚至于他应将占有会场壁面的那一部分,都作审慎周详的研究,拂出他可能尽的精血。”[vii]把生命交给艺术创作,把艺术当作毕生的信仰去追求,而从不将自我意识凌驾于艺术之上,这样的心态放在今日已愈发难能可贵。与他创作数量的低产似乎相互矛盾的,是他与众不同的创作习惯,即同时进行多幅作品的创作。据艾中信的描述,李瑞年“画画不喜欢单打一,经常六七幅画同时进行”,每幅作品又是时断时续,因此单幅画的创作时间反而更长,强调对于风景的深入体验,因此需要足够的时间去推敲。也许他更喜欢这种多幅作品、多个不同场景之间对比的张力,在多幅作品之间运筹帷幄,体会不同风景的情绪差异,及其所需的不同表现技法。但无疑,这种创作方式远远不同于今日商品画生产盛行的流水线作业工序,相反却为了精雕细琢而更加费神费时。如《含鄱口》一画前后历时两年才完成。[viii]这也从另一方面说明了他在创作一幅画时“既能持久地保持创作激情,而且工作有条不紊,能稳当地做到步步深入”。扎实的基本功与内省性的创作心态,使他的画作耐得住端详品味,散发出独特的韵致。含鄱口 1981年 油画 105×156cm上世纪60年代,在艾中信发表的“油画风采谈”一文中,对油画界的老一辈画家逐个评价,[ix]说到李瑞年时用了两个字:“苦涩”。这一评价堪称神来之笔,一语中的,“苦涩”一词既点出了他作品恬静忧郁而又蕴含悲怆力量的独特意境,也包孕了他坎坷多桀的人生,更折射了一个民族命运转折期的艰难而卓绝的时代主调。 素描人格:李瑞年的素描与美术教育思想素描历来被视为一种练习造型基本功的训练手段,李瑞年明确提出“它本身还是一个单独的画种”。对于他来说,素描不仅能够表现物体的结构、长短比例、黑白关系,还能表现“物体的性质、神情、色彩及一切物体所有的内在的东西”[x]这样一种认知,无疑是深刻和睿智的。这种判断不仅源于其西欧学院派出身的教育背景,更反映出画家对于素描方式的敏锐与自觉。素描的特点是朴素、纯粹,具有研究性和本质性的属性。人如其画,从某种角度上,可以说李瑞年其人也带有素描的品质与人格精神,内敛、严谨、洞察世界又内省自身。曾受教于李瑞年的素描教学的钱绍武说,“李先生就是一辈子走了这条诚恳踏实却又是自甘寂寞的艺术之路”。早在23岁,1933年毕业于北平大学艺术学院西画系的李瑞年,在师从王悦之、卫天霖等教授学习西洋美术之后,同年赴欧洲留学,先后在比利时皇家美术学院、法国巴黎国立高等美术学校学习,曾获布鲁塞尔皇家美术学院素描班学考试荣誉第一。嘉陵江两岸 1944年 油画 75×75cm在比利时皇家美术学院学习期间,李瑞年深受弗拉蒙画派的影响薰陶。当时他选择了专攻素描,对于物象进行深入细察,再加以素描层次的精确分析,用严谨的造型手法表现出来。这既是一种基本功的锻炼,同时也形成其艺术风貌的基本气质。在转入巴黎美术学校之后,入罗西恩·西蒙的画室深造。西蒙大刀阔斧的画风影响了李瑞年的创作风格路向,在色彩、尤其是对于黑颜色的运用方面使其得益颇多。同时,西蒙的教育手法也深刻影响了李瑞年后来的教育思想,他在教学上主张自然地发展个性,尤其对进入他画室的高班生,采取启发引导的办法,依顺学生的个性和秉赋发展其长处。比利时、法国两地的转益多师,使李瑞年掌握了油画与素描的不同特性,他既保留着弗拉蒙画派在素描上的严谨精微,又吸收了印象派在外光色彩上的处理手法,实现素描和色彩的有机结合。从他的作品中我们可以看到,其色彩在常人不易察觉的细微处追求变化,尽量把冷暖色调的反差降到最低,呈现出一种素描关系的颜色感,这样的效果是,既保留了色素倾向的鲜明,又能感受到色彩节奏的和谐,“用色省净简约,而感情却很丰富”[xi]。素描的训练对于李瑞年质朴隽永的艺术风格的形成,起到了至关重要的作用。李瑞年在1941年抗战最激烈时期,由法国回到重庆,在及其艰苦的条件下,与王临乙、王合内、吴作人等画家一起,居住在嘉陵江畔一个小山冈的古堡周围,经常聚谈艺术,此间,李瑞年以诗意现实主义的风格画蜀中山水风景,展现了“比似入川杜甫诗”(常任侠诗语)的创作情怀。这一时期,他在歌乐山、化龙桥、沙坪坝、磁器口一带画了一批极富感染力的风景画,以朴实生动的油画语言,严谨深入的素描视角,忠实而深情地描绘了重庆郊区的农村风景。作品中郁郁葱葱的树林,种满庄稼的山坡地,布满梯田、竹林与茅舍的山寨,都准确、鲜活地留存了一个特定时代的中国乡村印象。暴风雨 1944年 油画 65×80cm 中国美术馆藏李瑞年的一生一直没有间断美术教育的实践。40年代和50年代初,他与徐悲鸿、黄显之、吕斯百在中央大学的合作教学,后来同徐悲鸿在国立北平艺术专科学校的教学活动。新中国建国后,李瑞年在其师卫天霖的推荐下担任北京师范学院美术系教授兼第一任系主任。其间,他提出从学生入学就注意培养他们的独立研究问题的能力,重视传授学习方法,而不是死教技法;主张把创作、色彩、素描、速写、默写练习结合起来,形成互相联系的体系,使学生明白技法和表现内容的关系,根据客观内容和立意来选择要使用的技法;在具体的课堂基本功练习中,采取“高标准、低要求、逐步深入”的办法,首先向学生提出追求的目标,但在具体作品练习中,又只要求解决一两个问题。除了创作和教学实践,他还十分关注对于素描作品的专题研究,其《看英国素描及水彩画展的杂感》一文发表于1982年第6期的《美术》杂志,对于欧洲学院派素描的严肃认真的格调和复杂丰富的风格进行了深入的分析,并从素描作为一种基础教学训练手段的角度,论述了自身教学体验。关于美术教育的宗旨,法国雕塑家、群雕《马赛曲》的作者弗朗索瓦·吕德说过,“最好的教学时把自然解放的最宏伟的手段教给学生,让他们思想上养成最有性格的习惯。作为教师,我的理想无非是将你们引入轨道,自己前进而无求于我。”李瑞年正是抱着这样一种教育理念展开其教育生涯的。他一生坎坷,磨难颇多,经历了战乱时期的流亡和“文革”时期的批判,但他始终没有放弃自己对于艺术创作和美术教育方面的追求,选择了一条诚恳踏实却又是自甘寂寞的艺术之路。李瑞年不仅在绘画艺术上孜孜不倦地追求、探索,而且为中国现代美术教育事业的发展锐意改革,以一己之努力影响了一大批当时在学院里学习的油画家。上世纪六十年代至八十年代,李瑞年曾担任今首都师范大学美术学院前身北京师范学院美术系的第一任系主任,为首都师范大学美术学院的早期发展奠定了深厚坚实的基础,并为美术界培养了一大批优秀的艺术家和美术教育家。在李瑞年看来,研究教育归根结蒂是要使整个教学系统化,从高师美术专业的性质与任务到具体课程设置,从高等教育本科、研究生的培养到中小学的初、中等教育,他真正把美术教育作为一个整一的、有严格计划性与条理性的学科系统加以研究和实践。在人生的最后几年,他还担任全国美术教育研究会筹委会主任一职,积极促动美术教育理念与方法的集成与交流。采花人 1945年 油画 65×67cm对于师范院校美术系和专业美术院校在教学要求上的异同,李瑞年认为除了相同的专业课基础之外,师范院校学生还要学习教育学、心理学、教材教法、专业理论和各画种的常识,应该掌握更丰富的知识与经验。与他的老师徐悲鸿一样,李瑞年也主张因材施教,根据每个学生特点提出不同要求,循循善诱,深入浅出,从不讲玄虚的大道理,总是从具体的创作思路和操作细节入手,启发学生入门,受其教益的画家大都对于李瑞年的师恩与“对学生挚友般的感情”(侯一民语)念念不忘。直至晚年,他仍尽力总结整理西欧画室制教学法,结合自己四十五年来的教学经验,改变原有的机械地分段式教学法,代之以重在提高学生艺术鉴赏力与创造力的综合式教学法。他还将自己的创作经验整理成文字出版,传授影响了更多的艺术爱好者与绘画初学者,如《怎样画风景》一书在1959年11月初版以来一版再版,仅修改版在1984年由人民美术出版社第三次印刷时,印数已达近30万册,这一数字及其影响范围,放在今日的美术出版界是很难达到的。李瑞年一生桃李满园,韦启美、戴泽、李斛等画家都是他在中央大学美术系的班里学生;在北京师范学院美术系担任系主任期间,他举办了教学改革成果汇报展览,邀请了他曾指导过的侯一民、艾中信、冯法祀、穆家骐等校内外画家举行座谈,交流意见。他始终保持着一种对于教学的热情与信念,坚信美术教育是其事业的最重要部分,他的教学手段与对学生的态度,一如他的风景画作品一样,“有至情,有真爱,有含蓄,耐人寻味”,同时又蕴含着一种执着的激情。葡萄 1979年 油画 38.5×52cm李瑞年先生曾在一幅葡萄静物油画的题跋中,以“单纯,素净,独有一番浓香味”来描述这种蕴藉的意境,而这种境界也是他对自己艺术探索之路乃至人格精神的秉承与写照。回望李瑞年先生的人生际遇,生前坎坷,身后寂寞,他的勤奋和才情虽然没有完全得以舒展,却也在油画风景、美术教育等领域达到了绝大多数同代画家望尘莫及的高度。适逢中央美术学院百年华诞的时刻,继2010年在中国美术馆举办的“李瑞年百年诞辰纪念暨捐赠作品展”之后,8年之后重新追忆与研究央美历史上的名师大家李瑞年先生,不止是纪念这样一位近现代美术史上的重要画家和美术教育家,更是纪念那一批被时代渐渐遗忘的优秀画家,纪念那一个曾经充满磨难与活力的逝去的时代。《中庸》“疏解”章有言:“至诚无息,不息则久,久则徵,徵则悠远,悠远则博厚,博厚则高明。”李瑞年先生的艺术真谛亦在于“诚”,在对艺术的不息追求,对学生的无私奉献,对一种普适而又深沉的审美境界的永恒探寻。他遗留下来的作品乃至他的教育观念,对于今日画坛与美术教育界都是一种提示,使我们得以思考在今天多元文化交融互动的当代画坛中,如何认识始终坚守某种艺术原则的可贵,如何对待美术教育改革与绘画本体规律的关系,如何在为师与为艺两个层面臻于化境。无论从哪个方面,李瑞年先生的人格与艺术中透射出的素朴诗意与深闳诗境,都正如那一番“独有”的“浓香味”,持续浸润着我们的感官与心灵。于洋                 (“至诚无息:李瑞年与美术教育”展策展人、中央美术学院副教授)2010年11月初稿于首都师范大学2018年11月改订于中央美术学院[i]李宗津:《李瑞年先生的画》,收录于《画家李瑞年——评论、回忆、自述》,2000年6月印制未出版资料,第19页。[ii]吕斯百《李瑞年与他的画》,见同上,第11页。[iii]艾中信:《漫谈李瑞年的油画》,见同上,第24页。[iv]吴作人:《日月鉴诚志,悠悠海岳情》,见同上,第33页。[v]冯法祀:《论李瑞年底风景画》,见同上,第28页。[vi]艾中信:《沉着的激情》,见同上,第53页。[vii]傅抱石:《李瑞年画展》,见同上,第9页。[viii]艾中信:《李瑞年的风景画艺术——浅议师法造化的自然主义》,见同上,第40页。[ix]艾中信:《油画风采谈》,《美术》1962年第2期。[x]李蒂雅:《李瑞年美术思想札记》,2000年6月印制未出版资料,第4页。[xi]艾中信:《李瑞年的风景画艺术——浅议师法造化的自然主义》,收录于《画家李瑞年——评论、回忆、自述》,2000年6月印制未出版资料,第41页。 ...More

An Interpretation of Song Yuanwen’s Artistic Career of Printmaking from 50 Works...

2018-12-19 388 people interested

Song Yuanwen is a cross-century artist who inherited the essence of the new Chinese woodcut and initiated the spirit of contemporary printmaking. He also made significant contributions to the teaching of printmaking in CAFA and the development of contemporary Chinese printmaking. He has studied under emerging representatives of printmaking such as Li Hua, Gu Yuan, Huang Yongyu and other leading masters. Professor Song Yuanwen is already 80 years old, but he is still devoted to the expansion and research of printmaking language. His works, “Spring Flood”, “Rondo”, “A Place Where Wild Flowers Bloom” and “Across the Sky” have been exhibited in the 9th, the 10th, the 11th and the 12th National Prints Exhibition, Another work “A Flock of Birds Searching for Home” was selected into the 8th National Art Exhibition, and his works have been collected by many essential art galleries and institutions at home and abroad. ...More

Fan Di’an: Learn From the Heart, and Pursue Both Art and Virtue...

2018-12-14 211 people interested

In the complex cultural circumstance, Mr. Li Hu adhered to the reform of Chinese painting, insisted on the integration of Chinese and Western painting skills, explored the transformation from classical to realistic language, and created a large number of works with the features of the times and cultural creativity, leaving a rich and precious academic heritage for modern Chinese painting. ...More

Wang Huaxiang: The Master of A Generation – Song Yuanwen...

2018-12-11 213 people interested

Mr. Song Yuanwen’s large-scale solo exhibition is about to unveil, with a full display of his works and his artistic career. Mr. Song’s generation lived in a world where today’s young person may don’t understand, so that they may don’t necessarily have an accurate understanding of their art as well. ...More

Fan Di’an Addressing “Song Yuanwen’s Solo Exhibition”: Take a Broad Vision to Set a Model for Printmaking ...

2018-12-11 249 people interested

Mr. Song Yuanwen is a grandmaster fostered by new Chinese art education. During decades of artistic creation and art education career, with his great efforts of making an outstanding performance in printmaking and abundant achievement in imparting knowledge and educating people, he has made a significant contribution to the development of Chinese printmaking as well as the teaching of printmaking in CAFA. On the occasion of both the centenary anniversary of CAFA and the 40th anniversary of the reform and opening up, we solemnly hold a large-scale art exhibition of Mr. Song Yuanwen, which is not only the best way to show and understand his artistic accomplishments, but also to better inherit and carry forward the excellent traditions of the elder generation of artists. With the spirit of selfless dedication, Mr. Song Yuanwen donated a large number of works to the university at the time of the exhibition, which is permanently collected by the university art museum, reflecting the high ideological level of an excellent communist party member artist and educator. His act of donation and the spectacle of the exhibition will become an essential record of the centennial celebration of CAFA. Home-returning Birds After Sunset, 2018Mr. Song Yuanwen was born in a farming family in northeast China. He has been longing for art since he was a child. He took part in revolutionary work when he was still a boy, thus setting up a revolutionary outlook on life and forming a pure belief that art serves the people. After entering CAFA, he rapidly developed his art techniques and made achievements in several fields, such as watercolor, illustration and printmaking. From the mid-1950s to the 1960s, he concentrated on studying creation traditions of printmaking and meanwhile paid more attention to explore innovation. With a large number of thematic creations of revolutionary history and works reflecting the construction of the new China’s socialism, he showed his talents and initially formed the artistic style of his personality, especially the creation method of integrating realism and romanticism. He laid emphasis on in-depth life, and through prints describing the production scene of workers and farmers, with bright and fresh print language to eulogize labor and new social climate. He also created a series of works full of revolutionary passion for expressing the atmosphere of the times and the aspirations of the people, such as the illustration for the novel Rainstorm, the series of works of “Battle Drum at the Equator” and so on. His works reflect the distinct characteristics of the times with a strong black and white relationship, rigorous image-building, and the form and rhythm of the picture. He combined the description of labor scenes with the symbolic expression refined and generalized from life, and conducted a profound exploration into the art form of printmaking and its technical language, adding new brilliance to the creation of new China’s printmaking. River Snow in the Spring, 1998Reform and opening up enabled China to usher in a new era for the development and construction of the society, and also brought new opportunities for the prosperity and advancement of Chinese literature and art. Mr. Song Yuanwen began a new creative journey with his keen artistic consciousness. He warmly welcomed the arrival of the spring of reform and opening up, and expressed his ambitions to sing the praises of the era, portray life and reveal the emotions for the people. Based on the experience of life in the northeast, he communicated closely with the group of printmaking artists in the Great Northern Wilderness and produced a large quantity of new works to present the boundless landscape and the scene of labor production in northern area, among which, “The Sleepless Earth”, “Chanty of Wusuli River”, “Summer”, “White Mountain and Black Water” and other works all express his deep feelings for the black land and also indicate his grasp of the natural scenery and labor spirit. These print works and his watercolor works during the same period opened a new window to show something from reality yet beyond reality. With a brand-new art style using threads of life while focusing on creating artistic conception, his spiritual pursuit is transformed into pure poetic lyricism through carving, and the pictures he created are rich in extended space, open sky, and vast horizon, in which forest trees, trailing geese in the sky, and the reed by the riverside weaved into a visual rhythm, arousing people a kind of soothing emotion. The poetic expression also mirrors the new development of Chinese society in the period of reform and opening up, particularly the features of the new era in terms of cultural connotation. After the havoc of the Cultural Revolution, the recovery of the human spirit required good image and lyric conception, and the restoration of society also needed poetic comfort. It was in this historical moment that Mr. Song Yuanwen showed the large picture of the landscape of China with a broad mind and revealed rich humanistic connotation by the refined language of printmaking, becoming a Chinese literary singer of the age of reform and opening up. His works have exerted a profound influence in printmaking and art circles. A Flock of Birds Searching for Home, 1991Mr. Song Yuanwen regards ordinary people as the natural parents whom he relies on and his artistic creation as a feedback to the people, which is an artistic spirit that has always been dominating his art practice. From the 1980s until his late life, his artistic steps have been significant and determined, and with a combination of realism and symbolism, he extracted the language of aesthetic form from real life and contributed many new works to the painting circle. His creation passion was very vigorous, thus leading to an increasingly mature printmaking language. Mr. Song Yuanwen has been teaching at CAFA since he graduated from its Department of Printmaking. He has always been educating people with the spirit of modesty and gentleman, benefiting the future students, and is engaged in education and teaching by a rigorous and meticulous method. From 1986 to 1993, he served as the director of the Department of Printmaking. Based on the teaching of printmaking pioneered by a sequence of predecessors, he further expanded the teaching pattern, strengthened the discipline construction and the studio teaching mechanism, and enriched the teaching content. At the same time, he added photography, design and composition and other subjects as the supplement, and integrated the teaching of creation techniques of various print types, so that the teaching of the Department of Printmaking can embody more the law of art education. He attached great importance to the training of difficulty, accuracy, capability and quality in teaching, especially paid attention to reinforcing the teaching of creation, and encouraged young students to absorb and draw on advantages of foreign art, take an intensive study into cultural traditions, and insist on going into the thick of life, which enabled the talents of the Department of Printmaking to catch up with the development of the times, both showing the central theme of Chinese literature and art on the creation topics and encouraging the exploration and innovation of the ontology Language of art, thus quite a lot of outstanding artistic talents have been cultivated. The Spring Brew in the Winter Snow, 2018In the development process of Chinese art welcoming its new cultural context, Mr. Song Yuanwen has laid emphasis on the cultural value and ontological research of printmaking, and united teachers of the Department of Printmaking with many printmakers with a modest mind, sparing no effort for the construction of the Department of Printmaking of CAFA and the development of Chinese printmaking. In the late years when he left his post, he was still concerned about the construction and development of the university, the discipline building and academic activities of the Department of Printmaking. With his rich experience in artistic creation and printmaking education, he continues to play his role in the advancement of Chinese printmaking and present his art belief and life state with a beginner’s mind.Mr. Song Yuanwen’s exhibition opens a colorful world for us, and his elevated feelings and broad realm demonstrated in his artistic world set up an artistic style of both professional excellence and moral integrity.Fan Di’an, Director of CAFADecember 2018 ...More

Su Xinping: The Preface of the Exhibition “Research for Song Yuanwen”...

2018-12-11 254 people interested

Modern Chinese printmaking started in the revolutionary years of the 1920s and 1930s. The new woodcut tradition passed down from generation to generation forged a large number of brave and committed soldiers of literature and art in printmaking. As an artist and art educator who has made outstanding contributions to printmaking and art education since the founding of the People’s Republic of China, Mr. Song Yuanwen was known to the world under such a historical background. From Mr. Song, we can feel the clear pulsation of the lifeline of modern Chinese art constructed by predecessors such as Li Hua, Gu Yuan, Huang Yongyu, Zhou Lingzhao and so on. ...More

Unseen Connections and Discoveries Imagine you are falling: but there is no ground, only stars!...

2018-11-08 284 people interested

Despite the proliferation of images in the digital age, a condition that has inevitably contributed to the expanded presence of images in the world, even today photography maintains a sort of inescapable magical appeal. ...More

CONSTELLATIONS...

2018-11-08 280 people interested

Constellations also liberate the pictures from a strong tendency within photography to consider each successful image as the result ONLY of a special chemistry between the camera on one side and the eye and the finger of the artist at the other…… ...More

Shifting Boundaries: Images between the Public and the Private...

2018-11-08 264 people interested

Starting from the surveillance society we are living in today, the 3rdBeijing Photo Biennial points to the complex coexistence and interplay between the social, public and private characteristics of photography, providing a platform for us to reconsider the role of the image in challenging the tension-filled relationship between the public and the private as well as its influence…… ...More
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