Songs for Dream Trackers: Highlights of Oil Painting Collection

Art museum of China Profiles, Xiamen

"We are all running hard. We are all dreamers." 

No matter what kind of suffering, no matter how heavy the burden of history, generations of Chinese people have never given up pursuing the dream of happiness and creating a better life in constant running.

When looking back to the artists we have come into contact with over the years, whether young or middle-aged, or even older, they have a common feature, that is full of dreams, striving for their own professional field with spraying vitality, and presenting their feelings in the magnificent paintings. Their focuses range from still life on close desk to labor scenes, which indirectly or directly depict the ups and downs of the dream-building process of New China, full of realistic humanistic care and sincere feelings.

As for the subject matters of painting, respected oil painter, Mr. Bao Jia, once said, "I don't like to paint broken bricks or dark and decadent corners. Someone will depict them. They also have their own value in historical research. I prefer to show vivid things, such as painting the ancient banyan tree here. What hasn't it suffered yet? But it is still here, without fear of the wind and rain, firmly rooted in the soil, looking at the growth and life of generations, I like this kind of energy.” This is also the choice of our exhibition works - positive, upward, high-spirited, or the little warmth and beauty of life. Because the wings of dreams also need "good wind". In the age of passion, we need such wind direction. We would like to take this exhibition to pay tribute to every dreamer.

Sunshine After Snow, Shen Xinggong, 2009, From the collection of: Art museum of China Profiles, Xiamen
Jade Dragon Snow Mountain, Zhang Chongqing, 2009, From the collection of: Art museum of China Profiles, Xiamen
Aborigines - Scenery of Taroko, Mao Daizhong, 2009, From the collection of: Art museum of China Profiles, Xiamen
Harvest Season, Zhang Qinruo, 2005, From the collection of: Art museum of China Profiles, Xiamen

The trees and land in this works are magnified by exaggeration and distortion, and are endowed with strong or elegant or clear color implications, which are of great expressive significance.

Island Life, Zhang Chongqing, 2004, From the collection of: Art museum of China Profiles, Xiamen
Tailu Men, Zhang Zuying, 2009, From the collection of: Art museum of China Profiles, Xiamen
Horse, Tuo Musi, 2004, From the collection of: Art museum of China Profiles, Xiamen
Classmate, Sun Zixi, 1963, From the collection of: Art museum of China Profiles, Xiamen

This work is about two soldiers learning together. Old soldier joined the army in the countryside, fought all the way, and then studied again. He is grasping the pen very clumsily, like taking a piece of wood, showing his difficulty in writing. Because of the younger age, the young soldier finds learning easier with an accurate gesture of holding the pen. The personalities of the two men are fully embodied through the pen. In order to study together for the common goal, these two gestures contrasted with the wrinkles of the old soldier's face and the naivety of the new soldier's face, which fully embodied the artist's ability to capture the details of life.

Gobang, Sun Zixi, From the collection of: Art museum of China Profiles, Xiamen

This painting depicts two soldiers playing gobang. Despite the harsh environment, they still remember their love for life. The painter's outstanding painting ability to capture the dynamic and spatial relationships of characters is highlighted in his works. The works are full of warmth and contemporary feelings.

Late Return, Sun Zixi, 1989, From the collection of: Art museum of China Profiles, Xiamen
Spring Here, Yang Xianrang, 2001, From the collection of: Art museum of China Profiles, Xiamen
Guilin Scenery, Ma Changli, 1981, From the collection of: Art museum of China Profiles, Xiamen

The sunlight in this painting left a dazzling mark on the water. The description of light is very vivid.

Bridge, Ma Changli, 1965, From the collection of: Art museum of China Profiles, Xiamen

The composition of this painting is loose and tight, the lower part is sparse, the upper part is dense and full of rhythm. The reflection of the building, either erected or inclined, has rich and musical formal beauty, as well as concrete beauty and abstract beauty.

Before the Race, Ma Changli, 1979, From the collection of: Art museum of China Profiles, Xiamen
Miyun Reservoir, Ma Changli, 1977, From the collection of: Art museum of China Profiles, Xiamen

In this work, the blue color makes the upper part of the picture colder, outlines the distant mountain scenery, while the lower part of the picture is slightly warmer, making people feel the warm sunshine on the grass vaguely.

memories, Chen Jinghua, 2003, From the collection of: Art museum of China Profiles, Xiamen
Outside the Gate, Sha Jing, 2006, From the collection of: Art museum of China Profiles, Xiamen
Storm of the Century, Weng Kaixuan, 2015, From the collection of: Art museum of China Profiles, Xiamen
An Ancient Banyan Tree, Bao Jia, 2004, From the collection of: Art museum of China Profiles, Xiamen
Go to Work, Ma Changli, 1976, From the collection of: Art museum of China Profiles, Xiamen
Credits: All media
The story featured may in some cases have been created by an independent third party and may not represent the views of the institutions whose collections include the featured works or of Google Arts & Culture.
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