The opening of the Chinese Oil Painting Art Exhibition at the Yanhuang Art Museum is the essence of realism art.
On June 6th, the "Yan Huang Fool - Huang Zhou's Works Exhibition" opened at the Yan Huang Art Museum. The exhibition was hosted by Beijing Poly Auction, and hosted by Liang Ying academically. It showcased more than 20 representative works of outstanding 20th century Chinese painters Huang Zhou, including "The Pleasant Grassland", "Uncle Kurban Turmu", "The Prosperous Generation", "The Horse Training Picture", and "The Grassland Female Rider".
Create a realistic model of Chinese figure painting
From the 1930s to the 1940s, a large number of famous oil painting reproductions painters, represented by Huang Zhou, went to border ethnic minority areas, marking an important turning point in their artistic careers. The theme of ethnic minorities in the border areas has become an important motif in the history of Chinese art in the 20th century.
In Huang Zhou's creations, border figure painting is one of his important themes. As one of the most pioneering and innovative figure portrait painting masters since the founding of the People's Republic of China, Huang Zhou affectionately painted the national charm of the border areas with a unique artistic vocabulary, demonstrated the era style of border characters, and created a model of realistic creation of Chinese figure painting in the 20th century. Its frontier theme painting endows the characters and theme content with rich connotation and new vitality, has strong interest in life and distinctive characteristics of the times, and is still a monument of frontier figure painting.
Huang Zhou spent his life creating border themed paintings. His paintings have enhanced the friendship among the people of various ethnic groups in the border areas, while also praising the admiration of people of all ethnic groups for a better life and their desire for spiritual life. Huang Zhou created a unique character image with a new ink language, making it a unique artistic style in the art creation of ethnic art themes, and laying the direction for the development of Chinese figure painting in the 20th century. The more than 20 representative works in this exhibition showcase his artistic exploration in this theme painting.
The pinnacle masterpiece "Kurban Turmu Uncle"
In Mr. Huang Zhou's frontier subject figure paintings, the Uygur "Uncle Kurban Turumu" is a thematic creation with the characteristics of the times and the nation. The representative work of this theme, "Uncle Kurban Turmu", which appeared in this exhibition, is the imperial masterpiece that recreates the grand scene of the era of national integration, and also establishes the important position and popularity of Huang in the Chinese hand painted oil painting world.
Famous research scholar Li Song summarized Huang Zhou's artistic career as "two creative peaks": the first peak was in the early 1960s; The second peak was in the early 1980s. The year 1976 was a historic starting point for Huang Zhou's second peak in painting creation, and this "Uncle Kurban Turmu" is one of the representative works of this important historical starting point.
The story of the character prototype Kurban Uncle "riding a donkey to Beijing" was widely circulated in China. On the afternoon of June 28, 1958, the 75 year old Kurban elderly man, who had gone through ups and downs in his life, was finally warmly received by Mao Zedong at Huairentang in Zhongnanhai. Since then, this image has spread throughout the country overnight, and his deeds have been created into films, musical dramas, paintings, and other works, inspiring the children of all ethnic groups in China to love the party, love the country, and unite and strive.
From 1956 to 1976, Huang Zhou spent the past two decades revising the story of "Uncle Kurban", from the earlier Uncle Kurban holding a donkey with his hand covering his forehead as he gazed eastward, to wearing a black robe and riding a small donkey in Xinjiang playing Dongbula. In multiple revisions, including the design of the donkey's front leg, Huang Zhou carefully revised it, and finally determined the final pattern in September 1976: Uncle Kurban wearing a printed coat, riding a donkey, playing "Rewap", Singing praises, walking towards the east towards the rising sun.
The artistic treatment of 'reciting Chairman Mao day and night' has achieved success. On the custom oil painting, Zhao Puchu's sincere, affectionate, and touching self written poem inscriptions are also very precious. From the perspective of calligraphy style, Zhao Puchu's calligraphy during this period has become more mature, with a strong "Su style" vividly appearing on the paper.
The old collection of the Tang Dynasty Museum, which once appeared at the "Chinese Calligraphy, Painting, and Ceramics Exhibition"
This' Kurban Turmu Uncle 'originated from the collection of the' Tang Ren Guan 'in Japan. The "Tang Ren Guan" is located in Nagasaki, Japan. It was originally a Confucian temple and was established in 1893 (Meiji 26) by Chinese residents of Nagasaki. The school was opened here in 1905. In 1945, the museum was damaged during the Nagasaki blast and was rebuilt in 1967. After reconstruction, exhibitions were held irregularly to promote traditional Chinese art and culture, witnessing the long history of cultural and economic exchanges between China and Japan over the past century.
In 1977, the Chinese government, in order to promote cultural exchange between China and Japan, organized the "Chinese Calligraphy, Painting, and Ceramics Exhibition" by the National Administration of Cultural Relics and the Tokyo Overseas Chinese Association at the "Tang Ren Guan" in Japan. The exhibition brought together the works of famous and important painters at that time, and sent the ceramic masterpieces collected by the Palace Museum to Japan for exhibition, in gratitude for the museum's contribution to the economic development and cultural exchange between China and Japan. Because it is a large-scale exhibition held by the country in Japan, all the participating painters carefully drew their works, such as Li Keran's giant masterpieces Jinggang Mountain and Lijiang River Scenic Spot, Wu Zuoren's Under Mount Wuyi, which eulogizes the magnificent rivers and mountains of the motherland, and Wu Guanzhong's Early Spring in Guilin, which represents the background of the times. Huang Zhou specially painted three masterpieces for this exhibition, namely "Uncle Kurban Turmu", "Great Achievements in the Wide World", and "Flying Snow Welcoming Spring".
In the art market, the works that appeared at the 1977 "Chinese Calligraphy, Painting, and Ceramics Exhibition" have all achieved high transaction records: for example, Huang Zhou's "Flying Snow Welcoming Spring" sold for 23.575 million yuan in the autumn of 2013; Li Keran's "Jinggangshan" was sold for 126 million yuan in the spring of 2015.
There are several books on the theme of 'Uncle Kurban Turmu', with roughly the same main composition and slight adjustments to details. The painting that was personally selected by the artist and sent to Japan for exhibition must be satisfactory to Huang Zhou.
Experts and Scholars Talk Together on "Times and Ink"
At the same time on the opening day, an academic salon was held, "Time and Brush and Ink - figure painting Revolution in the 20th Century and Huang Zhou's Frontier Painting", inviting famous artist Shi Qi; Li Zhiyuan, a collector and member of the Calligraphy and oil painting reproductions Committee of the Chinese Collectors Association; Chen Ming, Deputy Director and Researcher of the Theory Institute of the National Academy of Painting; Ma Mingchen, a researcher at Beijing Academy of Fine Arts and a distinguished professor at Hebei Academy of Fine Arts; Zhao Kai, a member of Yanhuang Art Museum, and Yin Huajie, the artistic director of Chinese painting and calligraphy at Poly Auction in Beijing, jointly participated in the discussion of the reform of figure painting in the 20th century and the far-reaching impact of Huang Zhou's border painting.
In view of the importance of Huang Zhou's figure oil painting creation and "Uncle Kurban Turumu", the guests at the salon also gave a very high appraisal: famous artist Shi Qi believed that Huang Zhou was a banner that pushed forward the reform of Chinese painting, and a banner that could never be pushed down, and an example for the later generations to learn forever! And this' Uncle Kurban Turmu 'has a perfect composition and ink expression, with Zhao Puchu's inscription adding to the icing on the cake and making it a national treasure masterpiece; Li Zhiyuan, a collector and member of the Calligraphy and Painting Committee of the Chinese Collectors Association, pointed out that this work is the most perfect one compared to the other three large scale Zhao Puchu inscribed "Uncle Kurban", and it is also the largest, best, and most perfect one in the current market circulation. It is a masterpiece that can flow out beautiful movements; In the eyes of Zhao Kai, a member of the Yanhuang Art Museum, this piece is a masterpiece compared to the Yanhuang Art Museum's collection of works. There are slight differences in the details of animal (donkey) painting between the two. The Yanhuang Art Museum's collection of works places more emphasis on spatial processing, while this piece is depicted more richly in ink and animal detail processing, while the brushstroke expression and modeling are as precise as ever; Yin Huajie, the art director of Chinese painting and calligraphy at the auction of Poly in Beijing, sighed: "In the landscape painting of the new China, it is inevitable that Li Keran's" Wanshan Hongbian ", while in the figure painting of the new China, it is necessary to talk about" Uncle Kurban Turumu ".
It is reported that the exhibition will continue until June 13th.