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 Winds – Painting Exhibition on the Spring Themes of Ming and Qing Dynasties” was exhibited at the China Painting Museum of All Times 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 concept (partial) (Qing Dynasty) Huang Bi
Business is abundant: Spring written by ancient painters
Hundreds of flowers are in full bloom, spring plowing and grazing, and literati and scholars are out for spring… 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 “KomiksWind: 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 Xiucai” and other elegant gatherings that evolved from folk sacrificial activities injected elegant atmosphere into this festival. The “Preface to Lanting” written by Wang Xizhi of the Eastern Jin Dynasty, which has been famous for its eternity, made “Lanting Xiuhua” and “Qushui Liushang” a unique theme in Chinese paintings to express the spring scenery.
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.
The Northern Song Dynasty painter Guo Xi believed that due to the different wind and rain and the morning and evening seasons, 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. Looking at things with emotion, the characters Babaylan that appear in this picture 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.
Year-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus-Chorus- href=”https://comicmov.com/”>CinemaCourt worship ancestors, changing peach talismans, and sticking door gods. Therefore, the “Sui Chao Picture” in traditional Chinese paintings is always inseparable from farewell to the old and welcome the new, exorcising evil spirits and eliminating disasters, worshiping gods and ancestors, praying for blessings and blessings. “Sui Chao” is the first day of the Lunar New Year. As a work in response to this season, painters often use fruits, fruits, fairy flowers, auspicious grass, beautiful utensils, strange stones and other items. These ornaments often placed on the desk are called “clear offerings” to pray for blessings and welcome good fortune.
Ju Lian’s “Sui Chao”CinemaQing Gong Pictures” use fruits and flowers that symbolize harmony and auspiciousness to add a festive atmosphere, and pray for blessings in the name of “Qing Gong” to express wishes for a better life.
There are also pictures of the ancients who bid farewell to the old and welcome the new, celebrate and worship the new, showing a peaceful New Year atmosphere. For example, the “Qing Gong” by Yongying, the sixth son of Qianlong. href=”https://comicmov.com/”>BabaylanPic” is a more special piece in the exhibition’s “Sui Chao” theme works, depicting the scenery and scenery of the Northern Sui Chao period. Although the picture looks colder, it implies the peaceful meaning of “Auspicious snow indicates a good harvest”.
Picture provided by Sui Chao Qing (Qing Dynasty) Julian
Traveling around in the mountains and rivers: the “Peach Blossom Land” full of fireworks
“The Peach Blossom Land” is a famous article in the Eastern Jin Dynasty<a One of the representative works of the Cinema scholar Tao Yuanming is also a creative theme that painters of all dynasties enjoy. There are several works in this exhibition based on the story of "Peach Blossom Spring". These works are Cinema</Each of the works has its own characteristics, including long scrolls of narratives that are loyal to text and painted, sketches that cut through exciting clips from the story, and landscape paintings that create out of the text and extend the artistic conception of "Taoyuan".
Among them, Huang Bi’s “Poetic Picture of Tao Yuanming” is a relatively complete reproduction of the work of “The Book of Peach Blossoms”. This work shows different scenes in the poem in paragraphs through the form of a long scroll. 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 light.
Although Huang Bi painted “Peach Blossom Land”, peach blossoms did not account for a large proportion like other paintings of the same title. Komiks 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, making 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 from the Green Deep Mountains” exhibited in this exhibition depicts the scene in the Taohua Creek area of Luofu Mountain.
The painting contains a poem written by Babaylan: “The peach blossoms bloom countless times on the stream, and the spring water is green among the flowers. I don’t seek the source because of the fishing boat, and I try to know the immortals (home) to escape from the world. The green rain flows through the clouds, and the sun protects the Yaotai. The old couple in the mountains made an appointment and asked me to come back to the spring with wine.” Explanation Babylan This work by the painter borrows the allusion from the “Peach Blossom Land” to describe the scene in the Taohua Creek area of Luofu Mountain in spring.
【KomiksReporter’s Notes]
The museum has a good collection and better exhibition
After an extremely extraordinary year, the spring of 2021 is even more exciting. The Guangzhou Art Museum, which is about to be relocated, held the Ming and Qing dynasties Spring Painting Exhibition as its first exhibition at the beginning of the year with the theme of “Spring”. It is of great significance.
The exhibition basically follows the strategy of setting themes, integrating collections, and discovering stories. It fully mobilizes the fine works of paintings from 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 exhibition, the core elements of the exhibition are still Komiks exhibits 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. The site of the Guangzhou Art Museum was originally located in the Zhongyuan Building, a famous building on Yuexiu Mountain. Komiks was moved to the current location of the Guangzhou Art Museum at the foot of Baiyun Mountain in the northern part of the city and on the banks of Luhu Lake. Its main collection is donated by a group of important predecessors from the Lingnan cultural circle. It is also these batches of donations and collections that have made the treasures and treasures of the Guangzhou Art Museum a gathering of treasures and treasures, becoming an indispensable corner of the Guangzhou urban culture 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, which is 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: Only by allowing more people to see the museum’s collections is the greatest patriotism.