Original Title: Exhibition News | Regional Culture in the Museum
Source: Central Commission for Discipline Inspection and State Supervision Commission website
Recently, great masters in art history have visited Beijing museums. After a circle of paintings by Marc Chagall in China, he finally came to Beijing. Currently, “Meeting Chagall: Love and Color” is in the offline exhibition hall of the museum. display. Chagall was born in a Jewish family in Russia in 1887, and his life was drifting, but his paintings are always full of innocence and romance. In his pen, you can see a very typical Russian winter, with heavy snow covering the roofs of colorful houses, and deer pulling sleighs in the sky. This painting of “Russian Village” painted in 1929 is quite popular in this exhibition. One of the paintings of concern.
Chagall is an alternative in modern art history. It is difficult to attribute him to a certain school. He is a school of his own. His personal experience is very important to his creation. As the exhibition title reveals, Chagall has been loved throughout his life. Nourishment, some images appear repeatedly in his paintings, like flowers. In Chagall’s view, the end of life is a bunch of flowers. Flowers often play the protagonist in Chagall’s paintings. Except for flowers, there is nothing in the picture. He boldly and accurately uses various colors to paint flowers, showing his superb understanding of colors.
The National Museum is currently exhibiting “Art for the People-Liu Wenxi Art Exhibition”, presenting Liu Wenxi’s art path in the scale of three exhibition halls. Liu Wenxi, originally from Zhejiang, came to work at Xi’an Academy of Fine Arts at the age of 25. Since then, he has been rooted in the loess land for his entire life. Liu Wenxi’s famous work was “Chairman Mao and the Shepherd” painted in 1960. Liu Wenxi painted many works depicting the image of Mao Zedong, but in fact he has never seen Mao Zedong in his life. The mystery of his creation lies in the collection of styles and frequent He said that he walked all the places Mao Zedong visited during his move to northern Shaanxi, and he suffered a lot during this time.
The collection of styles gave him an incomparable feeling and understanding of northern Shaanxi, and this is reflected in his paintings. Since 2005, Liu Wenxi, who has passed the ancients, began to create the long scroll “Master of the Yellow Land”. This long scroll is more than 100 meters long and is divided into thirteen parts. The entire volume is exhibited in this exhibition. Standing in front of this long scroll, it is hard to imagine that this is a work done by an old painter who is sick, but it is the case. The protagonists of “The Master of the Yellow Earth” are ordinary people, a man from Suide, aunt Mizhi, a doll sitting on a pile of grains and drinking porridge, and a sturdy young man with a drum.
In 2019, Liu Wenxi drew the last painting in his life, “The Voice of China, People Are Together-New Year in Northern Shaanxi”, and the audience can see this painting in this exhibition. The painting participated in the 13th National Art Exhibition. Everyone persuaded Liu Wenxi to give up participating in the exhibition, but he insisted on participating. Liu Wenxi said: “Participating in the art exhibition does not care about whether to be selected or whether or not to win. It is mainly to report to the people. I am still painting, I am still creating…”
Creating for the people is Liu Wenxi’s creative philosophy. He once wrote: “Works are the life of a painter, and fine works are the life of life. Painters rely on paintings to speak, and paintings are dedicated to the people and history. Works Only the people and history can give it a position, because people and history are always the most just. The painter should be the person closest to life and the people, the most thoughtful person, the most diligent, brave, and The hardest person. The painter wants to put his mind on painting and the people all his life.”
At the same time, the National Museum launched the “Great Wall Hometown Inside and Outside-Inner Mongolia Cultural Relics Exhibition”, which tells the history and culture of Inner Mongolia through more than 240 fine cultural relics. The exhibition focuses on the Great Wall. The construction of the Great Wall did not stop the two areas inside and outside the Great Wall. In fact, the two areas inside and outside the Great Wall have frequent political, economic, and cultural ties in history. Farming culture and nomadic culture continue to communicate and merge along the Great Wall, which together shape the cultural face of Inner Mongolia.
In recent years, museums in Beijing such as the National Museum and the Capital Museum have launched exhibitions of multiple regional cultures. For example, the Capital Museum launched the Zhejiang History and Culture Exhibition the previous year, and the National Museum launched the Xinjiang Cultural Relics Exhibition. These exhibitions brought together the cultural relics of many museums from all over the world, including provincial museums, and they showed the essence of regional culture. They were sought after and loved by the audience. At present, the Art Museum of Tsinghua University is exhibiting “Hua Xia——Essence of Ancient Civilization in Shanxi”. It introduces Shanxi’s underground cultural relics on the scale of three exhibition halls. There was a saying that “see Shanxi from underground cultural relics”. This is good, but this It is easy to make people overlook the underground cultural relics of Shanxi. In fact, the underground cultural relics of Shanxi are also wonderful. In this exhibition, the audience can see pottery from the Yangshao period, jade from the Longshan period, bronze from the Shang and Zhou period, as well as the northern dynasty murals that have attracted much attention recently. Standing in front of the reproductions of the murals, the audience may wish to experience what it means ” A feast of lines”. (Central Commission for Discipline Inspection and State Supervision Commission website Yi Shun)
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