From the Warring States Period "Three-string Button Pattern Mirror" to the Song Dynasty Anonymous Painter's "Mountain Magpie Loquat Picture", and then to the Qing Dynasty "White Ground Red Color Dragon Pattern Amphora", each piece of art treasures shows the exquisite skills and profound heritage of ancient Chinese art; From Xu Beihong's oil painting "Sketch of the Front and Side of the Figure", to Li Hua's print "Roar, China", to Lu Shen's Chinese painting "Drunken Picture in the Frost Forest", the art classics have witnessed the development of modern Chinese art.

  正在展出的“中央美術學院美術館藏陳列”展覽，從2萬餘件館藏中精選近500余件，分為“古代中國藝術”和“現代中國美術”兩大板塊。其中，“古代中國藝術”板塊包含銅鏡、畫像磚、俑、陶瓷、書畫等各類藏品，時間跨越兩千年；“現代中國美術”板塊以時間為軸線，梳理並呈現了油畫、中國畫、版畫、雕塑等造型藝術的百年發展脈絡。作為中央美術學院美術館的長期固定陳列，該展覽的舉辦旨在為公眾構建一部可視可感的中國藝術史。

Why should an art museum set up permanent exhibitions? In the view of Jin Jun, director of the CAFA Art Museum, the launch of the long-term exhibition is not only an important exploration of the museum's collection revitalization, as well as a staged summary of the collection research work, but also the embodiment of the core value of the contemporary art museum.

The first is to explore the spiritual core of traditional Chinese aesthetics.

Ancient Chinese art is the foundation for constructing traditional Chinese aesthetic concepts, a channel for understanding the spiritual inheritance of the Chinese nation, and a source of inspiration for current artistic innovation. In the exhibition, various bronze mirrors with flower and leaf patterns, dragon patterns, cockroach patterns and other patterns as decorative elements show the simple cosmology of the ancients; The portrait bricks of the Han Dynasty with an ancient artistic style record the rich historical picture and social life; Most of the exhibits in the figurine exhibition area belong to the Han Dynasty, Sui and Tang dynasties, with diverse themes and vivid shapes, showing the historical evolution of China's ritual and music system; The painting exhibition area includes figures, landscapes, flowers and birds, etc., allowing people to feel the spirit of traditional Chinese art in the thousands of natures painted by the painter.

The collection of Song painting "Mountain Magpie Loquat Picture" is particularly eye-catching. The work is by an anonymous artist, and the picture depicts a loquat with a broken branch from left to right, with two mountain magpies standing on the branches, in different postures, forming a visual balance with several loquats. The quaint colors on the belly and back of the mountain magpie and the green leaves and yellow fruits complement each other, unified in a quiet and ethereal atmosphere. Song Dynasty painting has become a peak in the history of Chinese art with its exquisite skills and long-lasting artistic conception, and the exhibition of "Mountain Magpie Loquat Picture" is precisely to let the audience feel the subtlety and profundity of traditional Chinese aesthetics.

The second is to sort out the road of Chinese modern art since the 20th century.

The history of the collection of the Central Academy of Fine Arts is also a condensed history of the development of modern Chinese art. The 20th century was an important period in the development of Chinese art, and the Central Academy of Fine Arts played an active role in promoting it. Whether it is Xu Beihong's artistic innovation of "running the west in the middle", or the classic works of the older generation of painters such as Wu Zuoren and Dong Xiwen, or the innovative practices of many artists after the reform and opening up, each collection is engraved with the imprint of the times and witnesses the centennial journey of Chinese art creation and education.

Try to look at Jin Shangyi's oil painting "Huang Binhong in his later years". Created in 1996, this work depicts Huang Binhong in her later years sitting on a basket chair and wearing a robe, with her landscape works as a backdrop. Jin Shangyi meticulously portrayed Huang Binhong's facial features and hands, and the rich details vividly showed the mood of the characters. It is worth mentioning that the painter skillfully combines the method of Chinese painting with the pointillism of oil painting when depicting the background, so that the picture presents the aesthetic connotation of the fusion of East and West, as Jin Shangyi said, "I painted this work to try to do the experiment of nationalization of oil painting, and to express the cultural spirit of Chinese art in this experiment." This work has also become a vivid microcosm of the development of modern art in China.

The third is to dialogue the international and current art ecology, and look forward to the vivid picture of future art.

In various contemporary art exhibitions, new technologies and forms such as artificial intelligence and digital art have become powerful auxiliaries, and many precious collections have been activated and interactively participated in by means of dynamic immersion and restoration simulation, which also provides a new perspective for the future restoration of cultural relics and artistic creation. "We made a 'digital doppelganger' for the Tang Dynasty painted terracotta figurines, and then used artificial intelligence generation and traditional digital painting to restore and simulate them, so that the audience can intuitively understand its original appearance." Jin Jun said that the restoration and display of the museum's collection with emerging technologies is still continuing, and the new achievements will be updated in the long-term exhibition to continue to surprise the public.

The collection is a tribute to the past, but also a vision of the future. People taste the beauty of ancient and modern art in the collection of classics, see the infinite possibilities of art in the blend of tradition and modernity, and look forward to the future art to add more color to the spiritual world of mankind under the impetus of new technologies and new concepts.

(Author: Rongchi)