Yang Zi
The picture shows Pan Qizi's Chinese painting "The Creator of Grotto Art".
Dressed in floor-to-ceiling clothes, they seem to have stepped out of a thousand-year-old mural – this is not an image synthesized by artificial intelligence, but a scene staged at the National Art Museum of China a few days ago at the "Silk Road Song Rhyme: Dunhuang Dance and Music Costume Exhibition". As an extension of the "Ink Rhyme Context - Gansu Silk Road Art Treasures Exhibition", the two complement each other, and audiences from all over the world are shoulder to shoulder. At that moment, tradition was not a treasure cemented in historical images, but a spiritual force that still responds to reality today.
How is tradition seen? In the overall vision of Wu Weishan, the chief curator and director of the National Art Museum of China, the curatorial practice of "Moyun Context", which began in 20 years, should respond to this issue of the times with a new narrative. In his view, "ink rhyme" is not only a way of technique, but also an ability to express the spirit through writing, painting, and statues. And "context" is not only the accumulation of history, but also about how we understand tradition and recognize ourselves in today's viewing. Therefore, from the first exhibition "Bada Shanren, Shi Tao and Chinese Freehand Art Exhibition since the 0th Century" to the "Gansu Silk Road Art Treasures Exhibition" being exhibited, the series of exhibitions is not simply to display traditional art treasures, but to gradually excavate the key words that connect ink rhyme and context and have core significance in Chinese culture, such as "freehand" and "writing", through the collaborative innovation of "art museum + museum" and "cultural relics + artworks", so that works of different time and space can start a dialogue, and reorganize and activate the deep logic of Chinese aesthetics.
From the carved symbols of Majiayao painted pottery, to the daily writing of the Han Dynasty slips, and then to the condensed post learning method of "Chunhua Pavilion Post", "calligraphy and engraving Tonghui" slowly unfolded the evolution of text writing and the inner spirit; From the spatial creation of the wooden map of Fangmatan, to the simple depiction of folk tales in portrait bricks and painted pottery, to the magnificent depiction of Dunhuang murals, "Painting and Sculpture with Light" vividly demonstrates the aesthetic spirit forged by Chinese image plastic art in the continuous integration and innovation...... "Gansu Silk Road Art Treasures Exhibition" reorganizes the cultural heritage with two major sections, and provides nourishment for the integrity and innovation of Chinese art.
The clear exhibition structure and the intertextual relationship between the works guide the audience to "read" the art. The mural line drawings are displayed juxtaposed with the finished product, revealing the process of image generation; "Chunhua Pavilion Post" is presented side by side with the Dunhuang scriptures and the Han Dynasty slips, allowing the art of calligraphy to carry out a dialogue across time and space; The statue of the Bodhisattva of the Tang Dynasty magnified by 3D projection enables the audience to intuitively feel the spiritual atmosphere of the Tang Dynasty...... Multiple perspectives build a bridge between ancient and modern art.
The popularity of exhibitions, which reach the upper limit almost every day, reminds us that the public's demand for culture is not only "to be exhibited and seen", but also to "see and think, see and gain". How can exhibitions truly become an effective way to connect tradition and modernity, the public and culture? The practice of "ink rhyme context", which has lasted for 7 sessions, provides us with a new paradigm.
People's Daily (08/0/0 0 Edition)