Lian Zihua's "Li Bai" is full of poetic charm, Su Xianzhong's conceptual expression in "Paper", Lian Deli's pursuit of ultimate craftsmanship in "Myth", Xu Ruifeng's "Source" blends heaven and earth with exquisite craftsmanship, and Zhang Hairui's popular interest in "Moon Sweetener" The continuation and innovation of Dehua white porcelain in the context of contemporary ceramics have never stopped. Using porcelain as a medium, exploring the various possibilities of ceramic sculpture, artists innovate and seek change in tradition, and bring new artistic vitality to the millennium old "Chinese white".

The warm and pure Dehua white porcelain, as pure as jade, comes with a peaceful and soft light, and strolling through exhibitions is like taking a deep breath of the soul. In a simple and elegant aesthetic atmosphere, release fatigue and calm emotions Xu, seeking the beauty of inner peace.

foreword

Standing at the historical milestone of the 35th anniversary of the establishment of Futian District, we use art as a pen to create a magnificent painting depicting the development of Futian at the Guanshanyue Art Museum in the central area of Shenzhen. This "Fireworks Scroll · Happy Futian -35th Anniversary Art Exhibition of Futian District" is not only a deep reflection on Futian's past years, but also a beautiful expectation for its future development.

Mr. Wang Kewei's specially created exhibition "Hugging Blessings in Lakes and Mountains, Radiant Fields" takes us back to the Southern Song Dynasty. In the painting, the ancestors, dressed in tattered clothes but with resolute eyes, stop in surprise on Lianhua Mountain after a long journey. This "feng shui treasure land" with abundant vegetation and mountains facing the sea carries the historical roots of Futian and demonstrates the resilient spirit of our ancestors to recuperate and expand their territory here. The Dragon Racing for the Brocade, Hundred Barges Competing for the Current focuses on the current situation. Loong Boat races on the Shenzhen River, egrets fly in the mangrove, and landmark buildings such as the distant Ping An Mansion rise from the ground, vividly interpreting the vitality and struggle spirit of Futian's modern development.

Mr. Wang Kewei's works on ancient Chinese history and general themes, as well as the creations of local artists in Shenzhen, jointly construct a rich artistic matrix in the exhibition. They showcase the historical and cultural heritage as well as the characteristics of the times of Futian from different dimensions, allowing us to see the power of inheritance and innovation of Futian in the long river of history.

Futian, from the "Feng Shui Treasure Land" in the eyes of the Southern Song Dynasty ancestors to the current international and modern urban core, has always been full of the courage to forge ahead and the spirit of inclusiveness and innovation. Here, there is both the weight of historical accumulation and the fervor of the development of the times; There is both the warmth of the world of fireworks and the heroic spirit of hundreds of boats competing for supremacy. This exhibition transforms the "financial hardcore, scientific and technological innovation genes, ecological background, and cultural soul" of Futian District into a tangible and perceptible visual language, which is a wonderful interpretation of Futian's unique charm and a tribute to the hardworking people on this land.

After 35 years of hard work, Futian District has positioned itself as the "area of excellence" and has embarked on a unique path of high-quality development in Shenzhen, a pioneer city in reform. As the central urban area and city reception hall of Shenzhen, Futian District, driven by "finance+scientific innovation+culture", perfectly integrates the hard core strength of a modern international city with the warm background of the fireworks world, becoming a vivid example of "Chinese path to modernization".

What we see here is not only the 35 years' development achievements of Futian District, but also the growth logic of a future city - with reform as the pen, innovation as the ink, and happiness as the soul, Futian District is drawing a new picture of Chinese path to modernization with the "first good responsibility".

Vice President of the Chinese Gongbi Painting Society

Vice Chairman of Guangdong Artists Association

Chairman of Shenzhen Artists Association

Chen Xiangbo

Lian Zihua's "Li Bai" is full of poetic charm, Su Xianzhong's conceptual expression in "Paper", Lian Deli's pursuit of ultimate craftsmanship in "Myth", Xu Ruifeng's "Source" blends heaven and earth with exquisite craftsmanship, and Zhang Hairui's popular interest in "Moon Sweetener" The continuation and innovation of Dehua white porcelain in the context of contemporary ceramics have never stopped. Using porcelain as a medium, exploring the various possibilities of ceramic sculpture, artists innovate and seek change in tradition, and bring new artistic vitality to the millennium old "Chinese white".

The warm and pure Dehua white porcelain, as pure as jade, comes with a peaceful and soft light, and strolling through exhibitions is like taking a deep breath of the soul. In a simple and elegant aesthetic atmosphere, release fatigue and calm emotions Xu, seeking the beauty of inner peace.

foreword

Standing at the historical milestone of the 35th anniversary of the establishment of Futian District, we use art as a pen to create a magnificent painting depicting the development of Futian at the Guanshanyue Art Museum in the central area of Shenzhen. This "Fireworks Scroll · Happy Futian -35th Anniversary Art Exhibition of Futian District" is not only a deep reflection on Futian's past years, but also a beautiful expectation for its future development.

Mr. Wang Kewei's specially created exhibition "Hugging Blessings in Lakes and Mountains, Radiant Fields" takes us back to the Southern Song Dynasty. In the painting, the ancestors, dressed in tattered clothes but with resolute eyes, stop in surprise on Lianhua Mountain after a long journey. This "feng shui treasure land" with abundant vegetation and mountains facing the sea carries the historical roots of Futian and demonstrates the resilient spirit of our ancestors to recuperate and expand their territory here. The Dragon Racing for the Brocade, Hundred Barges Competing for the Current focuses on the current situation. Loong Boat races on the Shenzhen River, egrets fly in the mangrove, and landmark buildings such as the distant Ping An Mansion rise from the ground, vividly interpreting the vitality and struggle spirit of Futian's modern development.

Mr. Wang Kewei's works on ancient Chinese history and general themes, as well as the creations of local artists in Shenzhen, jointly construct a rich artistic matrix in the exhibition. They showcase the historical and cultural heritage as well as the characteristics of the times of Futian from different dimensions, allowing us to see the power of inheritance and innovation of Futian in the long river of history.

Futian, from the "Feng Shui Treasure Land" in the eyes of the Southern Song Dynasty ancestors to the current international and modern urban core, has always been full of the courage to forge ahead and the spirit of inclusiveness and innovation. Here, there is both the weight of historical accumulation and the fervor of the development of the times; There is both the warmth of the world of fireworks and the heroic spirit of hundreds of boats competing for supremacy. This exhibition transforms the "financial hardcore, scientific and technological innovation genes, ecological background, and cultural soul" of Futian District into a tangible and perceptible visual language, which is a wonderful interpretation of Futian's unique charm and a tribute to the hardworking people on this land.

After 35 years of hard work, Futian District has positioned itself as the "area of excellence" and has embarked on a unique path of high-quality development in Shenzhen, a pioneer city in reform. As the central urban area and city reception hall of Shenzhen, Futian District, driven by "finance+scientific innovation+culture", perfectly integrates the hard core strength of a modern international city with the warm background of the fireworks world, becoming a vivid example of "Chinese path to modernization".

What we see here is not only the 35 years' development achievements of Futian District, but also the growth logic of a future city - with reform as the pen, innovation as the ink, and happiness as the soul, Futian District is drawing a new picture of Chinese path to modernization with the "first good responsibility".

Vice President of the Chinese Gongbi Painting Society

Vice Chairman of Guangdong Artists Association

Chairman of Shenzhen Artists Association

Chen Xiangbo

Lian Zihua's "Li Bai" is full of poetic charm, Su Xianzhong's conceptual expression in "Paper", Lian Deli's pursuit of ultimate craftsmanship in "Myth", Xu Ruifeng's "Source" blends heaven and earth with exquisite craftsmanship, and Zhang Hairui's popular interest in "Moon Sweetener" The continuation and innovation of Dehua white porcelain in the context of contemporary ceramics have never stopped. Using porcelain as a medium, exploring the various possibilities of ceramic sculpture, artists innovate and seek change in tradition, and bring new artistic vitality to the millennium old "Chinese white".

The warm and pure Dehua white porcelain, as pure as jade, comes with a peaceful and soft light, and strolling through exhibitions is like taking a deep breath of the soul. In a simple and elegant aesthetic atmosphere, release fatigue and calm emotions Xu, seeking the beauty of inner peace.

The phrase 'poetry in painting, painting in poetry' is a classic summary by ancient people about the connection between poetry and painting. The tradition of "unity of poetry and painting" has made painters consciously incorporate poetry into their paintings, transforming poetry and poetic scenery into artistic meaning and scenery, and highlighting the artistic conception of "intangible" and "audible" poetry through "tangible" and "silent" painting forms, thus forming an important creative model for Chinese painters. Mr. Lin Fengsu, a master of Lingnan landscape painting, has had a fondness for reading ancient poetry and books since childhood, naturally benefiting from the tradition of poetic expression in ancient times. However, he did not only provide illustrations or descriptions of the poetry of ancient people, but also incorporated and repeatedly refined his own taste of the artistic conception of ancient poetry, fully reflecting his discovery and processing of the poetry of "ordinary family mountains", including his understanding of imagery and modeling. This pursuit of "poetry" can be seen as a potential mentality of his personal temperament and ideas. In today's rapidly developing industrial civilization, traditional poetry and pastoral scenes are moving away from us, perhaps due to the inevitable fate of modern people. As an artist with ideas, Lin Fengsu seeks a choice to return to his spiritual home and the natural countryside, which undoubtedly has an independent significance for his existence. Based on the above academic thinking, we take Lin Fengsu's poetic landscape as the theme, presenting his unique creation in poetic painting and his contribution to the modern transformation of Lingnan landscape. From the search for poetry to the construction of poetry, especially the localization and exploration of locality, different dimensions present the painter's modern transformation of the traditional connotation of the poetic theme in landscape painting.

The Cultural and Creative Link Project of Shenzhen Guanshanyue Art Museum - "Shanyue Living Room" is our museum's latest heavyweight art experimental project, dedicated to linking artistic creation and innovative practice, and promoting the revitalization and transformation of artistic resources.

Each issue of 'Shanyue Living Room' will collaborate with an artist to engage in deep co creation, transforming their original art into portable, usable, and collectible cultural and creative treasures. This is not only a continuously growing experimental field, but also dedicated to integrating warm art into daily life, bringing sincere and unique creations into the public eye.

Through this plan, we hope to explore a sustainable and replicable mechanism for supporting public art museums. Through the development of collaborative cultural and creative works, not only does it promote artistic creation into public life, but it also builds a virtuous cycle of "art product public".

Preface

As one of the important birthplaces of the modern printmaking movement in China, Guangdong has always been closely connected to the pulse of the times with its profound revolutionary woodcut tradition and continuous artistic innovation spirit. The "Southern Guangdong Fertile Soil · Era Chapter" exhibition is based on the "Hundred Counties, Thousand Towns, and Ten Thousand Villages High Quality Development Project" that Guangdong is deeply promoting throughout the region. It attempts to construct a deep dialogue about the changes in the local land, cultural evolution, and artistic resonance of Lingnan through printmaking, an artistic medium that combines dissemination and strong expression.

The exhibition is divided into four academic sections: "New Aspiration and Era Impressions, Rural Revitalization and Homeland Poetry, Humanistic Inheritance and Vitality in Lingnan, and Diversified Exploration and Imagery Symphony". Using printmaking language to solidify high-quality development moments, the exhibition interprets the harmonious coexistence between humans and nature, tradition and modernity from an artistic perspective, showcasing the creative transformation and innovative development of Lingnan's historical culture in contemporary times, and presenting the artist's personalized philosophical thinking on the theme of "development". The collection of over 130 works, covering various printing techniques such as relief, intaglio, planographic, relief, and comprehensive techniques, showcases the expansion and inclusiveness of printmaking concepts in the contemporary art context. Exploring how printmaking can record and interpret the complex texture of contemporary urban and rural development in China through its unique knife cut wood flavor, imprint texture, and visual rhetoric. From the integration of industry and city in the Pearl River Delta to the ecological transformation in eastern, northwestern Guangdong, from the spatial reshaping of traditional villages to the cultural implantation of emerging industries, artists use carving knives as pens and "plates" as media to transform macro strategic deployments into micro emotional narratives and form creations. This is not only a mirror reflection of the real scene, but also an active "artistic intervention", seeking the expressive tension of printmaking language in contemporary social issues between documentary and symbolic aspects.

This exhibition is a positive exploration of how contemporary printmaking can achieve the unity of artistic and ideological qualities, and also an academic response from contemporary printmakers to the mission of Chinese printmaking in the new era. We hope that the exhibition will not only showcase the fruitful achievements of the "Millions of Projects" on the land of southern Guangdong, but also reveal the profound cultural roots and spirit of the times behind them through the layered imprints, triggering continuous thinking on how art carries public memory and participates in social construction. May these works, with their distinct printmaking language and profound emotional warmth, leave vivid annotations for the times and inspire and resonate with viewers.

Preface

This year marks the 45th anniversary of the establishment of Shenzhen Special Economic Zone. When we pay attention to the contemporary development and construction of Shenzhen Gongbi painting art, Jing Lili and He Qin are undoubtedly representative artists. Their Gongbi painting vocabulary not only inherits the essence of their predecessors, but also demonstrates a distinct modern consciousness and individual exploration, which is a contemporary reflection of the artistic quality and innovative spirit of several generations. This exhibition showcases more than 50 exquisite works by Jing Lili and He Qin in the form of two solo exhibitions. They inject contemporary women's emotions and warmth into the ancient art form of gongbi painting with their unique female sensitivity and resilience. What is particularly rare is that their creative vision possesses the innate qualities of Shenzhen's enterprising spirit and cultural inclusiveness, which requires constantly overcoming self centeredness and openness to embrace others - "beauty and sharing". Through this, we recognize the value of our own culture and gain insight into the cultural vitality and creative drive of Shenzhen's meticulous art.      

This exhibition is a meticulous new work created by the author inspired by his observations and feelings of the world. For her, the distance is the power that drives her spirit to transcend reality and explore the world, and the magnificence and wonders of the African land also echo the pursuit of profound tranquility in Chinese art. The 'Extreme Vision' is the artistic interest of Jing Lili, who travels alone through the vast expanse of Africa to showcase exotic 'wonders'. Strolling through her paintings not only cultivates her own emotions, but also opens up a tropical wonder for viewers to rest and nourish their minds.

In her writings, we can easily appreciate the author's joy in the universal life of free creatures: the adorable little elephant is full of vitality, the flamingo takes off gracefully, the wild duck strolls leisurely, and the rhinoceros bird guards the nest with hope - all of which reflect the author's cherish and expectation for the true essence of life, containing endless beauty and power. Jing Lili is skilled at transforming the finite into the infinite, capturing flow in stillness. Under her water colored veil, there are misty scenes of animals, the sky, wonders, and the moon... but they do not appear hazy; There is a dark tone in the painting, but it doesn't feel dull; The wind rises and the clouds move, but there are no raging waves. All scenery is clear and bright, and all artistic conception belongs to the soul. It is not easy to showcase the exotic charm with traditional Chinese writing style, but her soul flows freely between the boundless sky and earth with the fusion of water and color. Jing Lili's paintings depict a kind of mind and a realm, calmly melting the barriers of distance and difference, revealing a broad mindedness that embraces all things. This is not a curious distant view, but a resonance between heaven and man, as well as a leisurely wait. An Eastern female artist, with her unique gentleness and calmness, engages in a deep gaze and spiritual dialogue with distant life.

It showcases the rich historical culture, unique ethnic customs, and profound cultural heritage of the 

Tibetan people, and delves deeper into the unique expression of Tibetan culture in art creation, as well

 as the evolution and innovation of Tibetan themed art in modern and contemporary historical 

processes. This exhibition will help enhance the audience's awareness, understanding, and love for 

Tibetan culture, and provide a vivid visual sample for studying the exchange and integration of Tibetan culture and modern art.

Art is colorful through communication and enriched through mutual learning. As early as 2004, 

Shenzhen Guanshanyue Art Museum, Xizang Federation of Literary and Art Circles, Xizang Artists 

Association, and Li Keran Foundation jointly held the "Snow Area Color Training - Xizang Contemporary

 Painting Invitational Exhibition" in Shenzhen, which attracted wide attention from all walks of life. 

Twenty one years later, we held the "Concentric Painting Landscape - Xizang Art Works Exchange 

Exhibition", which is not only the continuation of the long-standing friendly exchanges and cultural 

context between Shenzhen and Xizang, but also the result of friendly exchanges between Shenzhen 

Guanshanyue Art Museum and Tibet Art Museum in the new era. The holding of this exhibition will 

further deepen the deep friendship between Tibet and China.

We hope that this exhibition can inspire contemporary artists to explore innovative paths that combine

 traditional and modern aesthetic concepts, and promote the unique charm of Tibetan themed art in 

the context of globalization.

Shenzhen Guanshanyue Art Museum Xizang Art Museum

September 2025

Preface

In contemporary society, in the diverse cultural ecology with countless experimental samples of themes, styles, and techniques, it is always an unavoidable proposition for artists to explore unique painting styles, techniques, and visual language. For Liang Xingsheng, it is no exception.

As an artist who has been working in the academy for a long time, Liang Xingsheng's proposed solution is to construct an open system for himself, and always explore the direction of seeking change and innovation in inheritance. In general, it means not sticking to one corner, breaking through the limitations of regional culture, actively drawing on and absorbing the cutting-edge achievements of contemporary art from various regions in the north and south. In terms of creative expression, Liang Xingsheng's paintings in recent years have clearly diverged from those of the previous decade. This can be observed from the following two points: firstly, the comprehensive application of ink, color, and lines has been elevated to a new state. On the basis of exploring pure ink figure painting, he further demonstrated the effectiveness of color in the picture; The use of ink painting is not as focused on brushstrokes and blocks as in the past, but rather on the unique texture and fun of ink spreading out with deformation; The lines abandon the previous sense of heaviness and turn towards a refined and simple feeling. Both, the painting theme becomes grand and narrative oriented, drawing attention back to ordinary individuals and focusing on the characters around them. Focusing on grassroots people such as urban construction workers or production builders has been a common theme in the art world over the past decade. Although it may be a strategy to pay attention to social reality, it can easily fall into a vague and repetitive style. Liang Xingsheng pays attention to the living conditions of people around him through sketching, endowing realistic themes with more authentic connotations. The combination of multiple factors, from techniques to themes, has ultimately formed a new style of Liang Xingsheng's figure paintings that highlights the prominent image, blends ink colors, and is full of interest and modernity at present.

This exhibition, which focuses on the creations of the past five years, is a phased summary of Liang Xingsheng's artistic exploration process. I believe that as one's understanding and thinking deepen, their artistic appearance will continue to change. Naming the exhibition "Xiaotiandi" is not only derived from one of his works with children as the theme, but also a display of the painter's artistic views. For artists, painting is a small world that is enclosed outside the chaotic world and deserves extra care to appreciate life. It is a path to realizing the self and becoming the greater self.

Lai Zhiqiang (Associate Researcher at Guangzhou Academy of Fine Arts)

August 2025