On the occasion of celebrating the centennial birthday of the CPC and deeply studying and implementing the spirit of the Sixth Plenary Session of the 19th CPC Central Committee, the "centennial masterpiece of seal painting - Shenzhen teachers' works exhibition" was held in Guan Shanyue Art Museum, bringing a spring breeze to the art education industry in Shenzhen. The art education workers active in the special zone are not only educators, but also literary and artistic figures. Not long ago, the 11th National Congress of the Federation of Literary and Art Circles and the 10th National Congress of the Chinese Writers Association were held. The important speech of President Xi Jinping made every literary and artistic worker passionate, and these art educators in the special zone were no exception. In the process of upholding integrity and innovation, promoting the spirit of the special zone, continuing to write the story of spring, and cultivating more innovative talents are the glorious missions bestowed upon them by the new era.

Aesthetic education is the cornerstone of cultural confidence and national development. A person who cultivates virtue must first establish oneself; a person who cultivates soul must first cultivate oneself. As an art teacher who shoulders the heavy responsibility of aesthetic education, it not only undertakes the important responsibility of enlightening thoughts, cultivating sentiments, and nurturing the soul, but also is an educator who pursues strong ideals and beliefs, noble moral sentiments, solid knowledge, and a heart of kindness. As the backbone of the education and continuation of beauty, they start from their own cultivation, with profound basic skills, aesthetic insight, and creative forms, advocating virtue and fine arts, and playing an important role in inheriting and promoting the spirit and tradition of Chinese aesthetics, transmitting upward and good values and positive energy.

Established in 2020, the Art Education Special Committee of Shenzhen Education Association, under the warm care of Shenzhen Education Bureau and the leadership of Shenzhen Education Association, has resonated and gathered the elite force of the art education industry in the city. This exhibition has gathered 65 works from teachers from various units, reflecting the voice of the times from different perspectives. The images show a love for nature, life, and the people, and incorporate full attention and reflection on the present in the creation.

 "Nurturing students with a heart of great love and painting works that are passed down with a heart of great beauty". In the face of the significant historical opportunities driven by and superimposed by the "dual zones", art educators who have grown up with the special zone will ride the wind and waves, walk steadily and go far.

Shenzhen Artists Association

Shenzhen Education Association

December 2021

Snowy mountains, unchanging yet full of magnificent wonders, with sacred and serene majestic mountain contours, mysterious and unpredictable clouds rolling horizontally, and shining golden mountains... Since the ancient ancestors of Shu migrated from the upper reaches of Minshan to the fertile Sichuan Plain, people here have always looked up to the snow mountains that are both nearby and far away for 5000 years. They continuously record the history of mountain observation in bronze, ceramics, embroidery, and paintings, and inject spiritual value into the snow mountains through the creation of these civilizations. With the rediscovery of western geography and the significant improvement of modern transportation since modern times, people can not only observe mountains on the plains, but also delve deeper into the snowy hinterland that ancient people had never reached. The beautiful natural landscape, rich cultural resources, and profound historical accumulation of the western plateau have attracted the attention of literary and artistic artists from all over the world. Painters also dream and linger on the strange landscapes and mysterious colors of the western plateau.

However, how to draw the snow capped mountains on the western plateau is a problem that ancient people have not solved. Looking at the snow landscape patterns in Chinese painting throughout history, there are works by Wang Wei, Zhao Songxue, Huang Gongwang, Shen Zhou, and others that draw inspiration from the mountains and waters of Jiangnan, as well as snow scenes in the Taihang Mountains of the Central Plains that Jing Hao, Guan Tong, and others are skilled at painting. There are works by Fan Kuan and others that focus on the mountains and waters of Zhongnan in the Qinling Mountains, but there are few snow landscape paintings created with the theme of snow capped mountains on the western plateau. Here, the peaks and clouds are exactly opposite to the black and white relationship in traditional painting, and the grand and straight mountain shape also seems to not conform to the aesthetic of traditional painting's configuration. Faced with new problems, a group of artists who created with the theme of snow capped mountains spontaneously began to study and explore, and a new art school gradually formed in this process. The artists of the Snowy Mountain Painting School use an extension of traditional painting language to express their reverence for majestic mountains and rivers, and express gratitude for the nourishment of grasslands, lakes, and rivers on the snowy plateau.

On the occasion of celebrating the 100th anniversary of the founding of the Communist Party of China, the Sichuan Artists Association, the Shanxi Artists Association, the Tianjin Artists Association, and the Guangdong Artists Association joined hands to launch the Shanxi, Tianjin, and Guangdong touring exhibitions of the "The backbone of a great country, the beautiful scenery of the sacred mountains in the sacred realm | Exhibition of Plateau Snow Mountain Painting School Works ". The exhibition is based on the noble and holy plateau snow mountain scenery, reflecting the new exploration of Chinese landscape painters in art while adhering to tradition. The exhibition showcases a total of 100 painting works, continuously exploring the artistic characteristics, cultural aesthetic phenomena, and related academic issues of the "Ink Plateau Snow Mountain Painting School", in order to inspire more landscape painters and art theorists to participate in the creation and research of plateau snow mountain themes.

On November 17th, the exhibition entered the Guan Shanyue Art Museum in Shenzhen, which is well-known in the industry for its research and collection of many masterpieces of the Lingnan School of Painting. The Xueshan School of Painting, like the Lingnan School of Painting, emphasizes natural sketching and advocates an artistic approach that emphasizes both work and painting, as well as color and ink. Through a compromise between Chinese and Western art concepts and a shared appreciation of elegance and popular culture, they innovate traditional Chinese painting. This exhibition from the snowy mountains in the west may allow viewers familiar with the art style of Lingnan School to see a familiar yet unfamiliar spirit of artistic exploration, seeking novelty and change. I also hope that this exhibition can give everyone a new understanding and love for the ethnic, regional, and humanistic characteristics of the western plateau of our country. Through practical creation, we can solidify cultural creation and forge the spiritual backbone of the Chinese nation with cultural confidence!

The exhibition, academic research, and promotion of educational functions of an art museum can only be achieved on the basis of collecting a sufficient number and high-quality art works and relevant literature, which is also the basis for determining the academic status of an art museum. Therefore, the collection work is a long-term task of the Guan Shanyue Art Museum.

Since its opening, our museum has always attached great importance to the collection of art works and related historical documents. We have established an art committee to centrally manage the collection work. The collection work revolves around the academic positioning of "Guan Shanyue Art and the Collection, Research, and Exhibition of Chinese Art and Contemporary Design Art in the Middle and Late 20th Century", while also taking into account the collection of other contemporary art types. Five collection directions have been determined, including the collection of Guan Shanyue's works, Lingnan School of Painting art works, art works from the mid to late 20th century, contemporary design art works, and other types of art works. After more than 20 years of accumulation, a group of precious art works and research achievements have been produced, accumulating cultural wealth for the country and providing rich artistic resources for Shenzhen citizens to enjoy cultural rights.

In 2021, in accordance with the requirements of the art collection system, our museum collected a total of 326 works, including 1 Chinese painting by Guan Shanyue, 19 Chinese paintings by Lin Fengsu, 3 Chinese paintings by Ye Lvye, 268 prints by Huang Sancai (including some original versions), 1 sculpture by Hong Tao, and 34 youth meticulous paintings by "Youth Hearts".

This series of exhibitions showcases a total of 62 traditional Chinese paintings and printmaking works collected by the Guan Shanyue Art Museum in 2021. The aim is to publicize the collection results, activate existing collection resources, amplify public effects, and fully leverage the important aesthetic leading role of the national art collection in promoting positive social energy and promoting mainstream social values.

Finally, thank you to the Shenzhen Special Fund for the Development of Propaganda and Culture for its strong support of our museum's collection work!

Shenzhen Guan Shanyue Art Museum

November 2021

What is presented here are the experimental works of ink painting, printmaking, and image installation that I have created in recent years. Although most of them may not be mature, but they truthfully depict my thoughts and ideas.

Master once said, "At forty, there is no doubt." When I was a child, I felt that forty was far away, but little did I know that I had also entered this age. The other side of my dreams was always pulled back to reality by the trivialities of life. A sage at forty is not confused, but as an ordinary person, I cannot achieve it no matter what. With the changes in experience and age, I have come to realize that one should not talk empty all day long and not practice this journey in their heart. It is like a mortal claiming to be a king, which is ultimately unattainable.

When I was young, I played in the countryside and liked to doodle and draw. I was selected as an art student in junior high school and began to receive art education systematically under the guidance of teachers. Especially after graduating from university, I had the opportunity to enter the Shenzhen Painting Academy, a professional platform with ink and wash creation as its core. During this time, I was deeply influenced and had a glimpse of the profound world. Looking back at my past learning and work experiences, fortunately, I was able to meet good teachers and gentlemen, and it was their guidance that prevented me from falling into shallow and narrow situations.

Sincere gratitude to every teacher and gentleman, and at the same time, I would like to express my gratitude to the Guan Shanyue Art Museum for organizing a personal art exhibition here without any confusion, and for being included in the "Guan Shanyue Art Museum Young Artist Nomination Exhibition" series. This is a great encouragement and encouragement for me.

 Life is forty without confusion, but in art, there is no doubt about art.

Four Four at the foot of Yinhu Mountain

October 21, 2021

Famous conductor Herbert von Karajan said that the first thing he does when he wakes up every morning is to listen to Bach's music, like if a clear spring flows through his heart, it helps him correct his sight and hearing. Chinese landscape painters use the daily classes at Linchi as a way to cultivate themselves. Bach's tonal music may sound plain, but in reality, it is meaningful. Its rich and delicate tonality, with little difference, is similar to the pursuit of Chinese painting's initial view of plain and long-term view of gods. Yan Zhenqing's answer to Huaisu's language is the most profound Samadhi: "A startled snake entering the grass, a flying bird entering the forest" is not as wonderful as "a house leaking marks". Like music, landscape painting has both logical and creative elements. Teacher's creation can bring warmth, and drawing can refine and purify our souls. The hands, eyes, and hearts of painters, in the process of teacher's creation and drawing, ultimately achieve the goal of learning from things, wandering the mind, and forgetting oneself—— Mid Autumn 2021 in Pengcheng

The Beginning of Summer in the Year of Ji Hai, continuous heavy rain drove away the scorching heat. When the rain stopped, I took a walk with my child Yu Qian to Futian Central Park. The trees in the park are lush and lush, although not as picturesque as the mountains and forests, there are also hundreds of different types of trees with different postures. The branches drizzle, and the straight shape of the tree appears darker and clearer than usual; The leaves of the wood are exposed, drooping like ink dots? Splashing, like all kinds of ink and ideas; After washing the rain, the color is even better, with only green being the only color, either dark or light, tender or old, which is difficult to describe in writing. No wonder landscape painting requires rain, clouds, and fog. Shen Zhoucang's painting "Rainy Night" from the Taipei Palace Museum is simple and elegant, with a vivid ink color and a refreshing water vapor. Poetry is also fresh, "Drawing in the rain to borrow moisture, Writing poetry under the lamp to pass the night.When the door opens tomorrow, the spring water will be wide, and when Pinghu returns, it will sing willows". I love this work the most, thinking that Shen Zhou is the best. A few years ago, my colleagues from the Academy of Painting visited Mount Sanqing together before and after the Qingming Festival. A calendar of light rain, heavy fog and sunny days was the most pleasant! The magnolia blooms in the valley, like a startled swan or a wanderer?, Extremely white. The sun is scorching in the afternoon, and the mountain flowers are all in front of me, so tasteless! No wonder it's best to take advantage of the rain while touring the mountains, which is truly reasonable.—— Summer Solstice of 2019 at Kunbing Room, Shenzhen

preface

Today, the 16th "The 16th My Town My Home Photography Annual Exhibition" Photography Annual Exhibition is here to meet everyone. In this year's annual exhibition, Zhao Chongyi's "Car Window" and Zhang Qing's "Scenery Outside the Car Window" met by chance, forming a wonderful "gaze" that is very interesting.

Both of the above use the car window as the entrance for viewing, and the car window at this time is like a framing frame, but as an image presentation, the two are so different. Zhao Chongyi looked inside through the car window, focusing on the young passengers sitting by the window, and used close-up shots to capture the faces of each of their characters. Zhang Qing looked out through the car window and captured the scenery, pedestrians, their relationship with the environment, and current events, presenting many scattered and different scenes. Zhao Chongyi also specially chose the car windows that were dampened by rain and fog, casting a hazy tone on the works, giving them a sense of distance and a melancholic atmosphere. In contrast, Zhang Qing seemed to browse freely from the car window, curious but not very focused, appearing natural and somewhat casual. From an artistic style perspective, Zhang Qing's works are not deliberate or embellished, leaning towards naturalism; Zhao Chongyi's works have a romantic atmosphere, rich in expressiveness and emotion. Zhao Chongyi's works even evoke images of contemporary painter Zhang Xiaogang's family series, which possess a similar fragile and sensitive temperament. Both "Car Window" and "Scenery Outside the Car Window" were filmed through car windows, but they gave two completely different results in terms of content and style.

It's also interesting to imagine this: Zhao Chongyi looked inside from the car window, and Zhang Qing looked outside from the car window. Have they ever met while filming like this? If there were such encounters, what would be their respective reactions at the moment they noticed each other aiming their lenses at each other? Is it about smiling at each other and saying hello? Are we looking at each other? Is it a bit awkward to apologize to each other and quickly avoid it? This kind of encounter is actually not impossible. Look at it now, they met in this photography exhibition.

Here, taking the works of Zhao Chongyi and Zhang Qing as examples, we want to say that car windows are like lenses, and the lens is also like car windows. Photography, as a form of viewing, is free; As an expression, it is also free. The car window and lens only provide an entrance, and how to use this entrance, how to watch, and how to express it is entirely the photographer's own choice, depending on their personal preferences, interests, and understanding of photography. As long as you are loyal to yourself, shoot in the way you like, take pictures of things you care about, and satisfy yourself, that's all. Photography can only be more realistic, interesting, colorful, and lively when it reaches this level of freedom. This is the inspiration that Zhao Chongyi and Zhang Qing's accidental "eye contact" gave us.

What's even more interesting is that in this annual exhibition, the mirror image of the car window also appears in Lu Yijun's work "Shenzhen Bay" and Zhu Jie's work "Coming Images". Zhu Jie looked out of the car window, while Lu Yijun looked at the car window like Zhao Chongyi. Why are many photographers interested in car windows? Why do car windows attract so many photographers? This may be related to our peak period in the automotive era. The peak era of automobiles brings us a rapid sense of survival, everything comes and goes too quickly, everything flashes by. Life is really like a hasty journey in a car running on an expressway, and the people and things we meet also pass by like passengers in other cars. Occurrence and disappearance, memory and forgetting, traces and erasure, impressions and nothingness, like the scenery in the car window, rapidly transform. In such a time tunnel, photography, as an art that fights against disappearance and forgetting, demonstrates its unique value. In all the rapid movement and passing, intercepting every moment that touches and moves you, and staying behind, such photography behavior actually becomes a kind of salvation. It is the salvation of things that once existed, the salvation of memories, and the self salvation of photographers.

The photography exhibition "The 16th My Town My Home Photography Annual Exhibition" has been committed to establishing a visual archive for 16 years, retaining vivid memories of each era and generation. In 2016, this exhibition has grown together with Shenzhen's development, witnessing the tremendous changes in the city and striving to promote and witness the progress of Shenzhen's photography. On this occasion, we would like to sincerely express our gratitude to the photography industry friends, the general public who have supported this exhibition for many years, and the Shenzhen Propaganda and Culture Fund that has provided financial support. Thank you!

Ode to daily life

I stubbornly and alone write while reading

Other time

I am all silent

One day, turn a page of the book

Other time

be addicted to the pleasures 

One day, a thousand scrolls of paintings were unfolded

Late Osmanthus

I suddenly saw thousands of mountains and valleys

Another day, the shallow snoring had just stopped

I knock out poetry under the moon

Not meeting the old Erlang yet

Xie Hai

On October 18, 2021, at Xifengtang in Hangzhou

 When we appreciate and explore works, we often analyze and interpret them from the perspective of painting and artistry, which is a "technical" perspective. The painting quality demonstrated by Ding Rong is comprehensive, with almost impeccable visual elements such as lines, composition, and colors, providing a strong sense of pleasure and captivating. But this is only the fundamental element of an artwork, and the emotions expressed by Ding Rong towards life and nature are the real reasons that move people.

The artistic spirit formed by the five thousand years of cultural accumulation in China emphasizes the relationship between form and spirit - form embodies spirit, spirit unifies form, emphasizes the unity of heaven and man, and pays special attention to expressing emotions between mountains and rivers, blending emotions with nature, and gaining inspiration from the ever-changing laws of nature. In Zhuangzi's "Keyi", it is said that "the four spiritual connections flow in parallel, omnipotent, reaching up to the heavens and down to the earth, and nurturing all things." It clearly points out the Chinese cultural spirit of starting with "gods" and then "forms", and going from "inside" to "outside". In fact, the externalization of this inner spirit corresponds to the various changes in the natural world and the human soul, resulting in a refined state of mind of "picking chrysanthemums under the eastern fence and leisurely seeing the southern mountains", as well as a fresh and noble state of "emerging from the mud without staining, washing the clear ripples without being demonic". Ding Rong's flower series works achieve a perfect balance between form and spirit, conveying a power of upward life. Appreciating Ding Rong's works can strongly feel the artist's passionate love for life, expressing life, and praising life.

--Wen/Zhou Jun