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
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.
Lin Fengmian, Landscape, Ink and Color, 68cm×68cm Early 1980s
Li Jinfa, Statue of Huang Shaoqiang h:65cm 1936
Li Fengbai, Village in France, Watercolor 24cm×33cm 1930s
Li Kuchan, Hawk in the Changing Nature, Chinese Painting 96cm×88cm 1980
Zeng Zhushao, The Bust of Sun Yat-sen, Statue h:66cm 1986
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.
Hu Yichuan, Farm Labor-exchange Teams, Print, 17.6cm×25.5cm 1943
Li Qun, The People Live in Abundance, Print, 17.4cm×23.3cm, 1944
Wang Shikuo, Reforming loafers, Print, 21.5cm×30.5cm, 1943
Yan Han, Rural Election, Print, 28.4cm×37cm, 1948
Head Sculpture of Lady (1950) by Cheng ManshuMuseum 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.
Cheng Manshu, Head Sculpture of Lady, Sculpture, h: 42cm 1950
关良 《钟馗》 布面油画 56cm×71cm 年代不详
李剑晨 《西湖之夏》 水彩 29cm×37cm 1957年
萧传久 《章永烈像》 雕塑 高53cm 1960年
潘韵 《磐溪老校园》 国画 40cm×92cm 1945年
胡善馀 《傣族妇女像》 油画 89cm×64cm 1983年
赵无极 《无题》 水墨画 94cm×96.5cm 1980年代
傅抱石 《摧残》 国画 101.5cm×63cm 1934年
段文杰 《飞天》 国画 85cm×51.5cm 年代不详
徐坚白 《鱼》 油画 116cm×91cm 年代不详
Impatiens Balsamina (1959) by Wu FuzhiMuseum 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.
吴茀之 《凤仙花》 国画 91cm×42cm 1959年
诸乐三 《紫藤》 国画 137cm×70cm 1962年
倪贻德 《女大学生》 油画 46.6cm×38.6cm 1948年
黄宾虹 《山水花鸟册》 国画 9cm×260cm 1933年
苏天赐 《谷底春风》 油画 73cm×125cm 2001年
吴凡 《蒲公英》 版画 59.5cm×39cm 1959年