Wang Xiaoguang

The Guan Shan Yue Art Museum won five major awards from the Ministry of Culture in 2014! One of them is the "South Wind and North Picking - Guan Shan Yue Beijing Sketching Special Exhibition". The exhibition was exhibited in Beijing in August 2014 and moved to the Shenzhen Guanshan Moon Art Museum to continue its exhibition after September. It is expected to end in August 2015 and is now halfway through the schedule.

Since the National Day holiday in 2014, I have participated in the "Volunteer Guide Service" of this exhibition dozens of times, and the number of citizens I have served is estimated to be hundreds. Without detailed statistics, the specific numbers are unclear. Before providing guidance services for citizens, we received specialized training organized by the museum as usual. There is a background lecture by Professor Wu Xueshan on the sketch movement of the 1950s, as well as an introduction by Dr. Zhuang Chengheng on the context of "Guan Shanyue and the Chinese Painting Renovation Movement", especially the special training and detailed interpretation by the curator of this exhibition, Professor Ding Lanxiang. Training notes, on-site recording draft, unorganized, with very ugly font.

In addition, I have also read a lot of relevant materials. Unfortunately, while exhibiting in Beijing last year, relevant parties organized a "special seminar" in Beijing, but I have never been able to meet the papers and speeches submitted at the conference. Last weekend, when I met Teacher Cheng Ping, I found out that this book had just been published. The teacher immediately gave me a copy, which made me feel anxious and fearful. It was disrespectful, so I had to accept it. After thanking Teacher Cheng, go home and read carefully. There is no need to look closely at the previous paintings. For over six months, I have been familiar with these works through frequent meetings, mainly reading papers and speeches from professional teachers at seminars. (Below) "South Wind and North Picking - Collection of Special Works on Guan Shanyue's Beijing Sketching"

There are a total of nine papers. I spent three nights browsing through these papers and the summary of the seminar speech (which was too professional, I can only say browsing). Most of the content was already learned during the training, and this time I will read it again, it will be more systematic and complete. From the content of the paper, it can be understood that in the 1950s, the art form of "Chinese painting" underwent significant historical changes. A large number of painters such as Guan Shanyue, Li Keran, and Zhang Ting have participated in it, becoming a rare and important artistic practice for them. (Below) Selection of Guan Lao's works for this exhibition.

At this point, readers should be able to see that the professionalism of this exhibition is relatively strong, while the viewing value is not so strong, which poses great challenges for our volunteer "guidance services". The audience who come to the art museum, especially those who need our guidance services, are basically "non professional" citizens, many of whom are still "making soy sauce". Boring professionalism, unclear viewing experience, and lengthy historical background introductions can all make the audience lose interest or leave halfway. Fortunately, after a period of training and exploration, especially the mutual communication and observation among volunteer students, we finally met the requirements and standards of art museum teachers, and received high praise and recognition from the audience.

I took a photo at the tour guide.

One of the functions of art museums in modern society is to enhance the aesthetic literacy of the public. To achieve this, it is necessary to promote communication between art works and the audience, so that the audience can experience aesthetic experience and enjoyment in their hearts, thereby promoting the progress of social civilization. In this process, it reflects the value of our "cultural volunteers". So, I have always enjoyed it and tried my best.