Jan 1, 1928 - Dec 31, 1949

Masters and Temples Exhibition One: The Beginning

Museum of Contemporary Art, China Art Academy

Online Exhibition of the Museum of Art, China Art Academy
Museum of Art, China Art Academy/June 19, 2014
Landscape, Lin Fengmian, Early 1980s, From the collection of: Museum of Contemporary Art, China Art Academy

Preface   The collection is the foundation of an art gallery. "Masters" are those who we can learn from. In cooperation with Google, our museum has launched the online exhibit "Masters and Temples—The Collection of the China Art Academy", the first online exhibition of highlights from our collection. This is a retrospective exhibition, presenting highlights from the past 85 years. The masters whose works we highlight must be afforded respect for the important contributions they have made to the expansion of artistic horizons. Therefore, Masters and Temples is not only a reevaluation of the past, a revelation of hidden histories, and a means of highlighting current attitudes to our history, but also seeks to pass on past accomplishments that may inspire us to forage ahead in the creation of something new. This book is an anthology of literature relating to the current exhibition. We hope that today's refresher will show the academic lineage behind these great works and explicate the interplay of art education and creation. At the same time, we would like to thank everyone who has helped us bring together our collection!                                                                                                             Yang Jinsong                                                                                                               July 2014

Moring Pool, Zhang Guang, 1956, From the collection of: Museum of Contemporary Art, China Art Academy

Master and Temples Exhibition One: The Creation of the China Academy of Art (1928-1949)     In April 1928, Mr. Cai Yuanpei, then president of the Academia Sinica, personally presided over the opening ceremony of the National Academy of Art (the original name of our institution) in West Lake, Hangzhou. In his speech on the occasion, Mr. Cai remarked, "Art is the creation of beauty, the realization of beauty. The natural beauty of West Lake must be augmented by the man-made beauty of art. Thus, this site was chosen for the Academy. All religion relies on natural beauty to maintain its power and existence. Now, it is necessary to awaken people's hearts with true beauty, that is, to replace religion with art. As West Lake holds the greatest number of temples and the greatest number of incense-burning worshippers, it is the perfect location for this academy of art. Create beauty, so that our descendants may replace superstition with the love of beauty and make their lives whole." Initially, the teachers of the academy could be divided into two broad groups based on whether they trained in France or were trained in traditional methods. Although artistic activities were already flourishing in the revolutionary base area of the Communist Party and the concepts developed there would come to have an important impact on Chinese art in the early 20th century, the National Academy of Art, located in an area controlled by the national government, was not significantly affected. However, some of the best students of the academy, such as Li Qun, Wang Shiguan, Hu Yichuan, and Yan Han, flocked to Yan'an to join the communists and later became important standard-bearers of revolutionary art. They also add to the glory of the National Academy of Art.

Landscape, Lin Fengmian, Early 1980s, From the collection of: Museum of Contemporary Art, China Art Academy

Lin Fengmian, Landscape, Ink and Color, 68cm×68cm  Early 1980s

Flower-and-bird album, Pan Tianshou, 1933 - Late 1930s, From the collection of: Museum of Contemporary Art, China Art Academy
Statue of Huang Shaoqiang, Li Jinfa, 1936, From the collection of: Museum of Contemporary Art, China Art Academy

Li Jinfa, Statue of Huang Shaoqiang   h:65cm  1936

Village in France, Li Fengbai, 1930 - 1940, From the collection of: Museum of Contemporary Art, China Art Academy

 Li Fengbai, Village in France, Watercolor  24cm×33cm  1930s

Hawk in the Changing Nature, Li Kuchan, 1980, From the collection of: Museum of Contemporary Art, China Art Academy

Li Kuchan, Hawk in the Changing Nature, Chinese Painting  96cm×88cm  1980

Moring Pool, Zhang Guang, 1956, From the collection of: Museum of Contemporary Art, China Art Academy
The Bust of Sun Yat-sen, Zeng Zhushao, Unknown, From the collection of: Museum of Contemporary Art, China Art Academy

Zeng Zhushao, The Bust of Sun Yat-sen, Statue  h:66cm  1986

The People Live in Abundance, Li Qun, 1944, From the collection of: Museum of Contemporary Art, China Art Academy

Progressive Forces: The teachers and students at the China Academy of Art, paid close attention to the situation of their nation and enthusiastically contributed their artistic talents to the projects of national liberation and construction. In this exhibit, the works of Hu Yichuan, Li Qun, Luo Gongliu, Yan Han, and others reflect their commitment to social progress and the fate of the nation. Clutching their knives and brushes, they stood at the forefront of the war and fought for national liberation and freedom.

Farm Labor-exchange Teams, Hu Yichuan, 1943, From the collection of: Museum of Contemporary Art, China Art Academy

Hu Yichuan, Farm Labor-exchange Teams, Print, 17.6cm×25.5cm  1943

The People Live in Abundance, Li Qun, 1944, From the collection of: Museum of Contemporary Art, China Art Academy

Li Qun, The People Live in Abundance, Print, 17.4cm×23.3cm, 1944

Reforming loafers, Wang Shikuo, 1943, From the collection of: Museum of Contemporary Art, China Art Academy

Wang Shikuo, Reforming loafers, Print, 21.5cm×30.5cm, 1943 

Rural Election, Yan Han, 1948, From the collection of: Museum of Contemporary Art, China Art Academy

Yan Han, Rural Election, Print,  28.4cm×37cm, 1948

Head Sculpture of Lady, Cheng Manshu, 1950, From the collection of: Museum of Contemporary Art, China Art Academy

Inland Migration: In November 1937, as the war spread, the academy was forced to move westward. In 1938, it merged with the National Peping School of Art and settled in Panxi, Chongqing. Despite the displacement and poor facilities of the new school, it was still able to attract famous teachers, including Guan Liang, Li Jianchen, Hu Shanzhen, and Fu Baoshi. At the same time, students like Zhao Wuji, Wu Guanzhong, and Su Tianci forged a new style. The works of these artists, here displayed, allow us to explore the reasons underlying the school's success at this time.

Head Sculpture of Lady, Cheng Manshu, 1950, From the collection of: Museum of Contemporary Art, China Art Academy

 Cheng Manshu, Head Sculpture of Lady, Sculpture,  h: 42cm  1950

Zhong Kui, Guan Liang, unknown, From the collection of: Museum of Contemporary Art, China Art Academy

关良  《钟馗》  布面油画  56cm×71cm  年代不详

Westlake in Summer, Li Jianchen, 1957, From the collection of: Museum of Contemporary Art, China Art Academy

李剑晨  《西湖之夏》  水彩  29cm×37cm  1957年

Head Sculpture of Zhang Yonglie, Xiao Chuanjiu, 1960/1970, From the collection of: Museum of Contemporary Art, China Art Academy

萧传久  《章永烈像》  雕塑  高53cm  1960年

Old Campus in Pan Xi, Pan Yun, 1945, From the collection of: Museum of Contemporary Art, China Art Academy

潘韵  《磐溪老校园》  国画  40cm×92cm  1945年

A Woman of Dai People, Hu Shanyu, 1983, From the collection of: Museum of Contemporary Art, China Art Academy

胡善馀  《傣族妇女像》  油画  89cm×64cm  1983年

Untitled, Zhao Wuji, 1980, From the collection of: Museum of Contemporary Art, China Art Academy

赵无极  《无题》  水墨画  94cm×96.5cm  1980年代

Devastation, Fu Baoshi, 1934, From the collection of: Museum of Contemporary Art, China Art Academy

傅抱石  《摧残》  国画  101.5cm×63cm  1934年

Apsaras, Duan Wenjie, From the collection of: Museum of Contemporary Art, China Art Academy

段文杰  《飞天》  国画  85cm×51.5cm  年代不详

Fish, Xu Jian Bai, unknown, From the collection of: Museum of Contemporary Art, China Art Academy

徐坚白  《鱼》  油画  116cm×91cm  年代不详

Impatiens Balsamina, Wu Fuzhi, 1959, From the collection of: Museum of Contemporary Art, China Art Academy

In the summer of 1946, the academy returned to Hangzhou. During this period, the faculty engaged in two major projects. The first was the return to traditional art techniques and styles, as the famous painters Huang Binhong, Zhu Lesan, Wu Yuzhi, and Deng Bai came to teach at the school. The other path was encouraged by professors Ni Kuangde and Cai Yi, among others, who spread the ideas and attitudes of realism across the campus.

Impatiens Balsamina, Wu Fuzhi, 1959, From the collection of: Museum of Contemporary Art, China Art Academy

吴茀之  《凤仙花》  国画  91cm×42cm  1959年

Wisteria, Zhu Lesan, 1962, From the collection of: Museum of Contemporary Art, China Art Academy

诸乐三  《紫藤》  国画  137cm×70cm  1962年

A College Woman, Ni Yide, 1948, From the collection of: Museum of Contemporary Art, China Art Academy

倪贻德  《女大学生》  油画  46.6cm×38.6cm  1948年

Album of Huang Binhong’s Landscape, Huang Binhong, 1933, From the collection of: Museum of Contemporary Art, China Art Academy

黄宾虹  《山水花鸟册》  国画  9cm×260cm  1933年

Spring Breeze in the Valley Bottom, Su Tianci, 2001, From the collection of: Museum of Contemporary Art, China Art Academy

苏天赐  《谷底春风》  油画  73cm×125cm  2001年

Dandelion, Wu Fan, 1959, From the collection of: Museum of Contemporary Art, China Art Academy

吴凡  《蒲公英》  版画  59.5cm×39cm  1959年

Credits: Story

总负责 — 杨劲松,中国美术学院美术馆执行馆长
在线展策展人 — 夏商周,中国美术学院美术馆网络部
支持 — 张素琪,中国美术学院美术馆典藏部
支持 — 赵辉,中国美术学院美术馆展览部
英文翻译 — 林李硕

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
Home
Explore
Nearby
Profile