foreword

General Secretary Xi Jinping pointed out during his inspection of the Academy of Fine Arts at Tsinghua University that art, science, and technology complement each other, promote each other, and complement each other. This profoundly elucidates the common logic of collaborative innovation between art and science in the process of building human civilization.

Guan Shanyue once said, "If I don't move, I won't paint. If I don't feel the stimulation of the earth, I won't paint." The word "move" runs through Guan Shanyue's artistic journey, and his footprints cover the southwest, northwest, Southeast Asia, Europe, and America of our country. His landscape painting sketches seek change and innovation in motion, ultimately becoming classics. This exhibition uses digital humanities research methods to explore the dialectical relationship between the perspective transformation, "painting path innovation", and the forms of mountains and rivers, emotions, and temporal and spatial changes in Guan Shanyue's journey of sketching. It presents and deeply analyzes the important significance of sketching behavior in the construction of Guan Shanyue's artistic style in digital form.

The launch of Wuhan University's Luojia-1 satellite in 2018 provided people with another dimension of viewing - an aerial perspective. In 2019, the exhibition "The Light Boat Has Passed Mount Wanzhong - Guanshan Yue and the Modern Scenery of the Yangtze River Gorge" for the first time combined the use of sketching data and geographic information systems (GIS) to present Mr. Guanshan Yue's 1978 Three Gorges sketching route. From then on, our museum collaborated with the Aerospace Information Department team at Wuhan University to systematically collect sketching data from Guan Shanyue's creative career. These data include the time period, time point, location, route direction, and related painting patterns, styles, and brushwork techniques of sketching. On this basis, this exhibition aims to re-examine Guan Shanyue's sketching journey from an aerial perspective and explore the path of the generation of her work style and style. The exhibition visualizes information, applies remote sensing images, digital AI and other technologies to construct and restore real-life scenes, presents more comprehensive geographic data and geomorphic features, traces back to the source, and explores the inherent connection and dialectical relationship between Guanshan Yue sketching activities and natural landscapes. Simultaneously providing intelligent interactive services, expecting viewers to gain diverse experiences and cognition from the presentation of visual space; To provide more intuitive visual materials for relevant researchers, helping them further explore the relationship between Guan Shanyue's artistic creation and the generation of landscape painting styles in the second half of the 20th century, and to explore the potential value and significance of Guan Shanyue's artistic activities.

foreword

General Secretary Xi Jinping pointed out during his inspection of the Academy of Fine Arts at Tsinghua University that art, science, and technology complement each other, promote each other, and complement each other. This profoundly elucidates the common logic of collaborative innovation between art and science in the process of building human civilization.

Guan Shanyue once said, "If I don't move, I won't paint. If I don't feel the stimulation of the earth, I won't paint." The word "move" runs through Guan Shanyue's artistic journey, and his footprints cover the southwest, northwest, Southeast Asia, Europe, and America of our country. His landscape painting sketches seek change and innovation in motion, ultimately becoming classics. This exhibition uses digital humanities research methods to explore the dialectical relationship between the perspective transformation, "painting path innovation", and the forms of mountains and rivers, emotions, and temporal and spatial changes in Guan Shanyue's journey of sketching. It presents and deeply analyzes the important significance of sketching behavior in the construction of Guan Shanyue's artistic style in digital form.

The launch of Wuhan University's Luojia-1 satellite in 2018 provided people with another dimension of viewing - an aerial perspective. In 2019, the exhibition "The Light Boat Has Passed Mount Wanzhong - Guanshan Yue and the Modern Scenery of the Yangtze River Gorge" for the first time combined the use of sketching data and geographic information systems (GIS) to present Mr. Guanshan Yue's 1978 Three Gorges sketching route. From then on, our museum collaborated with the Aerospace Information Department team at Wuhan University to systematically collect sketching data from Guan Shanyue's creative career. These data include the time period, time point, location, route direction, and related painting patterns, styles, and brushwork techniques of sketching. On this basis, this exhibition aims to re-examine Guan Shanyue's sketching journey from an aerial perspective and explore the path of the generation of her work style and style. The exhibition visualizes information, applies remote sensing images, digital AI and other technologies to construct and restore real-life scenes, presents more comprehensive geographic data and geomorphic features, traces back to the source, and explores the inherent connection and dialectical relationship between Guanshan Yue sketching activities and natural landscapes. Simultaneously providing intelligent interactive services, expecting viewers to gain diverse experiences and cognition from the presentation of visual space; To provide more intuitive visual materials for relevant researchers, helping them further explore the relationship between Guan Shanyue's artistic creation and the generation of landscape painting styles in the second half of the 20th century, and to explore the potential value and significance of Guan Shanyue's artistic activities.

foreword

General Secretary Xi Jinping pointed out during his inspection of the Academy of Fine Arts at Tsinghua University that art, science, and technology complement each other, promote each other, and complement each other. This profoundly elucidates the common logic of collaborative innovation between art and science in the process of building human civilization.

Guan Shanyue once said, "If I don't move, I won't paint. If I don't feel the stimulation of the earth, I won't paint." The word "move" runs through Guan Shanyue's artistic journey, and his footprints cover the southwest, northwest, Southeast Asia, Europe, and America of our country. His landscape painting sketches seek change and innovation in motion, ultimately becoming classics. This exhibition uses digital humanities research methods to explore the dialectical relationship between the perspective transformation, "painting path innovation", and the forms of mountains and rivers, emotions, and temporal and spatial changes in Guan Shanyue's journey of sketching. It presents and deeply analyzes the important significance of sketching behavior in the construction of Guan Shanyue's artistic style in digital form.

The launch of Wuhan University's Luojia-1 satellite in 2018 provided people with another dimension of viewing - an aerial perspective. In 2019, the exhibition "The Light Boat Has Passed Mount Wanzhong - Guanshan Yue and the Modern Scenery of the Yangtze River Gorge" for the first time combined the use of sketching data and geographic information systems (GIS) to present Mr. Guanshan Yue's 1978 Three Gorges sketching route. From then on, our museum collaborated with the Aerospace Information Department team at Wuhan University to systematically collect sketching data from Guan Shanyue's creative career. These data include the time period, time point, location, route direction, and related painting patterns, styles, and brushwork techniques of sketching. On this basis, this exhibition aims to re-examine Guan Shanyue's sketching journey from an aerial perspective and explore the path of the generation of her work style and style. The exhibition visualizes information, applies remote sensing images, digital AI and other technologies to construct and restore real-life scenes, presents more comprehensive geographic data and geomorphic features, traces back to the source, and explores the inherent connection and dialectical relationship between Guanshan Yue sketching activities and natural landscapes. Simultaneously providing intelligent interactive services, expecting viewers to gain diverse experiences and cognition from the presentation of visual space; To provide more intuitive visual materials for relevant researchers, helping them further explore the relationship between Guan Shanyue's artistic creation and the generation of landscape painting styles in the second half of the 20th century, and to explore the potential value and significance of Guan Shanyue's artistic activities.

foreword

Since 2017, the Guanshan Yue Art Museum in Shenzhen has launched a series of academic projects called "Salute to Design", which aims to systematically review and study the main achievements and contributions of Chinese design masters. The project has received long-term support from the Shenzhen Municipal Special Fund for the Development of Propaganda and Culture, and has held six case study exhibitions on Zhang Ding, Zhang Guangyu, Pang Xunquan, Zhou Lingzhao, Chen Zhifo, and Chen Hanmin.

The professional team of this project is composed of our museum's curatorial team and academic strength from domestic design professional colleges. This year, we will continue to collaborate with the School of Fine Arts at Tsinghua University to co host the "Salute to Design - Lei Guiyuan Design Literature Exhibition". The exhibition focuses on "Salute to Design" and aims to comprehensively present Lei Guiyuan's design ideas, achievements, and contributions in art practice and design education within the framework of 20th century design history.

Lei Guiyuan was the founder of modern design education in China, as well as a pioneer in modern Chinese arts and design practice. He was also the main creator of the only independent design institution during the Republic of China period, Sichuan Provincial Art College, and the first design higher education institution in New China, Central Academy of Arts and Crafts. I studied abroad in France in my early years and paid attention to the French decorative arts movement, studying arts and crafts and modern design. Under the influence of democratic and scientific ideas, he integrated teaching, research, and practice into one (i.e. the "trinity"), "from ancient times to the present, from home and abroad, with me as the main focus", and published more than ten works such as "New Pattern Studies" and "Theory and Practice of New Patterns", creating a far-reaching modern pattern study system in China. Creating a reasonable way of life "is his design ideal. He holds the educational ideals of" saving the country through aesthetic education "and" saving the country through industry ", faces the world, serves industry, and actively develops modern design education in China; He led teachers and students from the Central Academy of Arts and Crafts to participate in the decoration and interior design of the top ten buildings in the capital for the 10th anniversary of the National Day, creating a simple, bright, and elegant style of the times, laying the foundation for the aesthetic style of design in New China; He founded the "Pattern Professional Class" and, together with Zheng Ke, paved the way for industrial design education in higher education institutions in New China; He practiced and explored in the fields of craftsmanship, design, calligraphy and painting, and designed unique works of "New Drawing Studies".

The exhibition is divided into two sections: "Eternal Teacher" and "Boundless Artist". With more than 240 exhibits, combined with research illustrations and case studies from the curatorial team, it systematically sorts out and deeply displays Mr. Lei Guiyuan's "Trinity" and far-reaching "Pattern Life"; Presenting works with distinct personality style and unique decorative interest, combining solid skills and superb artistic taste; I believe this exhibition will allow us to rediscover the artistic ideas and personal charm of the older generation of artists, and inspire contemporary design to inherit and innovate traditional cultural contexts. It will also bring more design thinking to Shenzhen citizens.

This exhibition has received strong support from Ms. Guo Qiuhui and her academic team at the School of Fine Arts, Tsinghua University, as well as exhibits from Lei Guiyuan's family and the Tsinghua University Art Library, ensuring the academic quality of the exhibition. We would like to express our sincere gratitude!

Chen Junyu

Director of Guanshanyue Art Museum in Shenzhen

In the field of art, every creator is a shining star, outlining the outline of the sky with unique light. 

Lu Shan is a colleague and friend of mine, but when I saw her paintings, I suddenly felt an inexplicable 

sense of unfamiliarity. Facing her canvas was like facing a familiar stranger, more like standing in front 

of a mirror and staring at myself asking questions, and the reflection happened to constitute another 

latent cognition of self questioning, which may also be a specific mode of cognition of Lu Shan's 

paintings.

There are two types of themes that I pay more attention to in Lu Shan's works: one is the tragic bird 

with folded wings, and the other is the imagery landscape full of personal feelings. To be honest, it is 

surprising to first see these works. The vague and multiple metaphors in their paintings, the complexity

 and contradictions of deconstruction and recombination, and the heavy imagery constitute an 

oppressive and direct attack on the viewer. These works, whether in appearance or expression, do not 

quite fit the role of a female author; However, the content in her paintings is far from the secular world,

 and the emotions portrayed are abundant, revealing her personal feelings and the unique individual 

sentimentality of women. This contrast precisely interprets the author's unique inner existence and 

thus gains self-worth.

It is worth emphasizing that Lu Shan invests sincere emotions in her creation. She regards painting as

 a non utilitarian individual experience and subjective emotional experience. The author's unrestrained 

brushstrokes in front of the canvas are a sensory manifestation of her absolute spirit. Although her 

works are far from narrative and concrete objectivity, it is precisely this distance that allows individuals

 to truly manifest their hearts. From the integration of senses and spirit to the reorganization of 

personal discourse rhetoric, the connection between free will and life context, they are constantly 

reinterpreted and defined. In middle age, no one's life can be forced. The situation is like a fish 

drinking water, knowing its own warmth and coldness. Reading her works completely awakens everyone

's embodied experience and personal perception of facing unpredictable difficulties and being changed

 by fate. The psychological space constructed by the works directly interacts with the viewer, and the 

inner melody contained in her writing is like an explorer in a solitary spiritual world.

Undoubtedly, in terms of her work experience, Lu Shan has been working in an art museum and has

 been accustomed to the ever-changing world of art for decades. Her creations and achievements are

 undoubtedly the result of a long-term reflection on the attitude and significance of art by museum 

staff. As her friend, on the one hand, I am grateful for her. Painting is an instinctive need for the author, 

and it has quietly opened up a space for independent expression; On the other hand, the lingering 

darkness and anxiety in her works are worrying, despite her repeated emphasis that art is an 

opportunity for her to reconcile with the world, and I wish the glory of this reconciliation to fade away. 

In this world of art, I hope she can find true peace and light.

Today, Shenzhen Guanshanyue Art Museum and Xizang Art Museum jointly held Lu Shan's solo 

exhibition, presenting these works of Lu Shan to everyone. I hope every viewer can enter her artistic

 world, feel her inner questioning and changes, and experience that unique emotional resonance. 

Perhaps, in this process, we can also find our own reflection and achieve a deep dialogue with ourselves.

February 2025 in Shenzhen

Continuing to promote cultural prosperity, build a strong cultural nation, and construct modern 

civilization of the Chinese nation at a new starting point is our new cultural mission in the new era. 

"General Secretary Xi Jinping's important speech at the Symposium on Cultural Inheritance and 

Development comprehensively and systematically expounded a series of major theoretical and 

practical issues related to the inheritance and development of Chinese culture, providing us with 

ideological and action guidelines for shouldering new cultural missions and striving to build modern 

civilization of the Chinese nation.

As an important practice in the field of oil painting that actively responds to the call of the times,

 the "Cultural Heritage Inheritance - Exhibition of Works of the Chinese Freehand Oil Painting School"

 has been successfully held for nine consecutive sessions since its debut in 2015, becoming an 

important academic brand in the field of Chinese freehand oil painting. 

ODE TO HENGYUE

With deep feelings and high spirits, I continuously praise Hengyang with my pen.

Hengyang, with its long history, rich culture, and outstanding talents, is the city where I was born and raised, and where I studied, worked, and lived for a lifetime. I have always been proud to be a Hengyang native and honored to serve Hengyang's development! Shenzhen is a modern and vibrant city, a gathering place of talents, a brilliant southern gateway of the motherland, and a frontier for internationalization. Over the years, due to my work and interests, I have actively strengthened cooperation and exchanges with Hengyang natives and literary and artistic figures in Shenzhen, striving to promote the prosperous development of culture and art between Hengyang and Shenzhen!

After my retirement, with the great concern of the Hengyang Municipal Party Committee and Government, I utilized my familiarity with Hengyang's cultural and historical advantages, leveraged my skills in poetry, calligraphy, and planning, and worked tirelessly day and night to refine my words and sentences. After eight years of effort, I compiled and published the poetry anthology Journey to the Southern Mountain and the couplet collection Couplets Celebrating Hengzhou, which received praise from experts and readers, caused positive social repercussions, and effectively promoted Hengyang.

The inkstone is silent, but the ink flows with fragrance. I selected some works from Journey to the Southern Mountain and Couplets Celebrating Hengzhou and carefully created others. In August of this year, on the eve of the successful convening of the Third Hunan Provincial Tourism Development Conference, I held the "Ode to Hengyue - Hongzhi Calligraphy Exhibition" in Hengyang, aiming to help more visitors appreciate Hengyang's scenery, understand its humanities, and share the fragrance of couplets and ink.

In the early winter, the southern breeze sways. Thanks to the invitation of Shenzhen artistic friends and with the strong support of the Shenzhen Culture, Radio, Television, and Tourism Sports Bureau, this exhibition is jointly hosted by the Shenzhen Municipal Committee for Care of the Next Generation, the Hunan Provincial Cultural and Historical Research Institute, the Hengyang Municipal Committee for Care of the Next Generation, and the Hengyang Culture, Radio, Television, Tourism, and Sports Bureau. It is co-organized by the Shenzhen Guan Shanyue Art Museum, Hengyang Art Museum, and Hunan Huxiang Calligraphy and Painting Academy, and co-sponsored by the Shenzhen Hengyang Chamber of Commerce. The exhibition has moved to Shenzhen, aiming to deepen cultural exchanges between the two cities, further enhance Hengyang's popularity, reputation, and influence, and help Hengyang reach a broader stage!

Ode to Hengyue, guests delight in Hengyang. Finally, I sincerely invite all visitors to journey to the Southern Mountain, celebrate Hengzhou with couplets, and create calligraphy inspired by the Southern Mountain. Please come to Hengzhou to compose poems. Let's climb up the steps together in the world of poetry, couplets, and calligraphy!

Xie Hongzhi

Early Winter of the Year of the Dragon (2024)

I express my heartfelt joy and sincere congratulations on the solo exhibition of young artist Wu Shuang in Shenzhen.

Shenzhen, a city of the youth with an average age below 33, is a city where youthfulness, passion, and the pursuit of dreams converge. Youthful vitality is not only a demographic state but also a symbol of the city's spirit. Shenzhen embraces every young dream chaser with its vast embrace.

Flowers Bloom in Streets, Flowers and Plants are Gentle and Warm—This is the theme presented by young artist Wu Shuang to the audience in this exhibition. Focusing on and depicting flowers and plants has become a unique vision stemming from Wu Shuang's feminine consciousness. The flowers and plants in her paintings are like pearls, with light and posture, colors and fragrances, illusory and magnificent, ink and color coexist, and the charm of their forms often stems from instant intuition and emotions. "Flowers Bloom in Streets, You May Return Leisurely," the author's intimate connection with natural flora also lingers in the inner vitality of nature's booming life. In her paintings, we can sense the author's sincere affection for nature, plain and warm. The lush vegetation in her works signifies the arrival of spring sunshine. She seeks creative freedom through imaginative thoughts and leads us into a dreamlike world filled with beauty. It is noteworthy that Wu Shuang has always focused on exploring creation and refining personal techniques and vocabularies through Eastern ink painting. The author emphasizes, "To inherit, one must possess tradition, history, and the creative achievements of predecessors in their knowledge storage; combining it with contemporary elements is because the creator integrates real life and the new aesthetics of the times and uses innovative techniques." In her paintings, Wu Shuang often employs techniques similar to boneless painting, calmly rendering water stains to form the natural charm and implication of ink and brushwork amidst the colorful flow of ink and color. In the realm of ink painting, wanton colors, flying brushstrokes, and graceful plants are uniformly and gently immersed in the blend of ink and color. Time seems to stop, yet everything remains vibrant. This is Wu Shuang's conscious "metaphysical" expression in ink painting.

The Guan Shanyue Art Museum has always paid attention to the development of young art and attached importance to and implemented young art exhibitions. Over the years, young artist activities have become a grand gathering of art that brings together, discovers, and shapes young talents. This grand gathering will become a cultural map of youth dynamics in our time that we look forward to and envision. Meanwhile, during their growth on the museum platform, the younger generation of artists find emotional resonance within the group, reestablish their imagination of others and themselves, and extend the fusion of creative interaction, common understanding, individual development, and cultural identity. This is precisely the vision we have pursued for many years.

Chen Junyu, Director of Guan Shanyue Art Museum

Culture serves as a pivotal fulcrum for promoting high-quality development. In the long course of history, the Chinese nation has created a time-honored and profound traditional culture, leaving behind countless invaluable historical and cultural heritage. Behind these cultural heritages lie the historical development of the Chinese nation, showcasing its spiritual demeanor and bearing its cultural confidence. Yangtze River culture is a representative symbol of the Chinese nation, a landmark of Chinese civilization, and an important source for nurturing socialist core values. Since the 18th National Congress of the Communist Party of China, General Secretary Xi Jinping has conducted numerous research inspections along the Yangtze River, gazing affectionately and offering earnest instructions. Standing at a historical and overall perspective, he made the major strategic decision to "promote the development of the Yangtze River Economic Belt," guiding high-quality development and fostering the prosperity of Yangtze River culture.

As a national team for contemporary Chinese art creation and research, the China National Academy of Painting bears the mission of protecting, promoting, inheriting, and developing Chinese culture. It has the responsibility to forge fine literary and artistic works based on the great practice of socialism with Chinese characteristics. To this end, the China National Academy of Painting thoroughly implements a series of important speeches and instructions from General Secretary Xi Jinping regarding the protection, inheritance, and promotion of Yangtze River culture. It establishes creative orientations centered around the development goals of the Yangtze River Economic Belt in the new era, conducting research on the tracing of Yangtze River civilization, protection and inheritance, contemporary values, cultural connotations, and other aspects. With practical actions, it eulogizes the country's development achievements and the new look of the times under the leadership of the Party.

In 2023, the China National Academy of Painting actively prepared and planned the Yangtze River Theme Art Creation Project, inviting over 160 renowned experts from the academy and 11 provinces, autonomous regions, and municipalities directly under the central government along the Yangtze River to participate. It successively organized artists to inspect, gather inspiration, and sketch along the Yangtze River, striving to comprehensively and diversely tell the "story of the Yangtze River" with fine works and depict a new picture of harmony between mountains, waters, and cities with ink and brushwork. At the same time, it promoted Yangtze River culture and continued historical traditions through travel sketches, literary and artistic commentary, seminars, theoretical research topics, and other forms. "Protecting the Beautiful Yangtze River —— China National Academy of Painting's Yangtze River Theme Art Exhibition" is an important achievement of the Yangtze River Theme Art Creation Project. The exhibition is divided into five chapters: "A Natural Landscape of Ingenious Beauty," "A Cultural Destination Shining Like a Galaxy," "Developed and Prosperous Water Conservancy and Shipping," "Affluent and Prosperous River Basin Economy," and "The Path of Ecological Priority and Green Development." After strict scrutiny by the Art Committee of the China National Academy of Painting, a total of 139 thematic works were selected for the exhibition. These works are rich in themes, diverse in appearance and forms, deeply exploring and reflecting the natural scenery, historical culture, and humanistic sentiments of the Yangtze River. They fully demonstrate the colorful appearance and fighting spirit of the people along the Yangtze River in pursuing and creating a better life, with special emphasis on modernity, academia, and innovation. They embody the artists' passion in depicting the beautiful scenery of the Yangtze River, showcasing its charm in the new era, and writing a new chapter of Yangtze River culture!

To better leverage the positive role of excellent artworks in promoting Yangtze River culture, "Protecting the Beautiful Yangtze River —— China National Academy of Painting's Yangtze River Theme Art Exhibition" will be toured in multiple provinces and cities along the Yangtze River in 2024, which is also a concrete practice of protecting, inheriting, and developing Yangtze River culture. This Shenzhen Station touring exhibition is the eighth stop of the series of exhibitions this year, and it has received strong support from the Guanshanyue Art Museum, further promoting exchanges and interactions between the National Academy of Painting and the Shenzhen art circle and artists. Here, we also express our gratitude to the relevant leaders and exhibition team of the Guanshanyue Art Museum for their hard work.

2024 marks the 75th anniversary of the founding of the People's Republic of China. Under the guidance of Xi Jinping's thoughts on culture and the leadership of the Ministry of Culture and Tourism, the China National Academy of Painting will closely follow the pulse of the times, adhere to the people's stance, uphold the principles of upholding tradition while seeking innovation, tell the story of China with emotion and effort, stand firmly on the "plateau" of literature and art with a more high-spirited attitude, strive to reach the "peak" of literature and art, and endeavor to present more and better literary and artistic works to the people.

Throughout the history of Chinese art in the 20th century, Guan Shanyue undoubtedly stands as a pioneer and practitioner of traditional Chinese painting innovation. In the first half of the 20th century, he used his brush as a weapon to directly depict the War of Resistance, and in his early years, he sketched the landscapes of the rear areas, tracing the origins of Dunhuang to draw on the essence of ancient art. In the early days of the founding of New China, traditional Chinese painting was subject to much criticism, and its transformation became the focus of efforts for traditional Chinese painters. Inheriting the concept of his mentor Gao Jianfu's new traditional Chinese painting, Guan Shanyue continued the sketching practices and methods he had employed since the 1940s. Taking the literary and artistic ideas of New China as his starting point and foundation, he reshaped the sketching of traditional Chinese painting and led the innovation of this art form.

In 1953, the National Traditional Chinese Painting Exhibition was successfully held, with critic Wang Chaowen writing the exhibition review "Facing Life," advocating for sketching in traditional Chinese painting. From this point on, the wave of sketching in traditional Chinese painting began. Guan Shanyue's sketches of New China presented visual images of the new society, responding to the innovative requirements of the times placed on traditional Chinese painters. For this exhibition, we have selected four landmark sketching practices of his after the founding of New China: sketches of Lingnan (south of the Five Ridges), the capital, Hubei, and the Yangtze River Gorges. Through works, documents, and research texts, we outline the artistic historical logic of Guan Shanyue's innovation of traditional Chinese painting during the New China period.

Guan Shanyue once summarized his western sketching journey with the phrase "If I don't move, I have no paintings to create." If "walking" was the essence of his sketching in the 1940s, then the key to Guan Shanyue's innovation of traditional Chinese painting during the New China period was his successful connection of on-site sketching with the culture and reality, production and construction of New China. His sketching works, on the one hand, connected with the visual perception of the working people, and on the other hand, recreated the visual landscapes belonging to and created by the working people. As General Secretary Xi Jinping pointed out, "The country belongs to the people, and the people are the country." The generation of painters including Guan Shanyue, through their sketches of the beautiful landscapes, demonstrated the "people-oriented" nature of literature and art, portraying the landscape of the people.

Director of Shenzhen Guan Shanyue Art Museum

Chen Junyu