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.