On February 2, the "Brush and Ink for Blossom: paintings of Qi Baishi, Xu Beihong and Zhang Daqian+authentic works of the three artists from Tianjin Museum+digital painting exhibition", jointly organized by Beijing Gehua Media Group, the China Millennium Monument and Tianjin Museum, was unveiled at the China Millennium Monument.
In order to commemorate the Chinese civilization entering the millennium, the China Millennium Monument aims to carry forward the Chinese cultural heritage and build a common spiritual home for the Chinese nation. Honoring cultural pioneers is also the reason for hosting the exhibition. These ancients embody the soul of the national spirit of self-improvement and self-discipline.
Qi Baishi and Xu Beihong are leading figures in modern culture. There statues stand prominently in the sculpture hall in the third floor of the China Millennium Monument for future generations to admire. It is the duty of the China Millennium Monument over the past twenty years to research, interpret and disseminate the artistic achievements and cultural classics of these cultural pioneers. The "Brush and Ink for Blossom" exhibition, as part of the "Comprehensive History of Chinese Painting Art 2023," is particularly significant as it coincides with the 160th anniversary of Qi Baishi's birth, the 70th anniversary of Xu Beihong's passing, and the 40th anniversary of the death of their mutual friend, Zhang Daqian.
From "Ingres' Treasures in Monauban: Collections from His Hometown" to "Records of the Three Kingdoms·Special Cultural Theme Exhibition" the China Millennium Monument and Tianjin Museum (Tianjin Art Museum) have maintained close exchanges for many years. Tianjin Museum has rich collection of modern and contemporary paintings, with more than 200 works by the three masters.
Although these three masters all hail from southern China, they share a bond with Beijing and Tianjin. Their friendship is evident in numerous collaborative exhibitions and group shows throughout their lives. However, the only joint exhibition held by the three masters during their lifetime was on October 18, 1947, at the Yong'an Hotel in Tianjin. At that time, Xu Beihong, advocating innovation, was engaged in a heated debate with the conservative literati of Beijing. For Qi and Zhang, this joint exhibition was a gesture of solidarity with their dear friend Xu Beihong, expressing their support through their works. The three companions stood together, steadfast in their shared goals and aspirations. Against this backdrop, the China Millennium Monument invited Tianjin Museum to facilitate a continuation of the stories of these three masters across time and space, spreading their artistic charm and celebrating their patriotic sentiments to nurturing the cultural spirit of our new era.
Qi Baishi, Xu Beihong and Zhang Daqian, each with their own distinctive style, admired each other's works despite their differences. Zhang Daqian delved into the aesthetics of the Song and Tang dynasties, bridging the past and present; Qi Baishi rejected the conventional, drawing inspiration from the simplicity and vitality of rural life; Xu Beihong, with a blend of western influence, used a romantic and heroic palette to illuminate reality. Despite these differences, they all pursued innovation in their own ways, contributing to the revitalization of Chinese art.
The exhibition is divided into three chapters, showcasing the works of these three masters from 1931 to 1951. These two decades coincided with a critical juncture in Chinese history, from the outbreak of the War of Resistance Against Japanese Aggression to the Liberation War. From the perspective of Chinese art history, this period also marked an important transition from classical to modern art. The three chapters are named after the personal seals of the three masters, representing their spiritual aspirations. The first chapter depicts Xu Beihong's animal and flower-themed works, reflecting Xu’s creation experience in the era of resistance war. The second chapter focuses on Zhang Daqian's landscape paintings during the war, showcasing his creative spirit and his depiction of mountains and rivers. The third chapter is themed by Qi Baishi's creations inspired by rustic life, exploring his longing for an ideal homeland and his gratitude for peace. These three parts represent distinctive cases and also epitomize the collective spirit of Chinese literati in the era. In the exchanges between East and West over the past century, these artists, like small boats in a turbulent river striving for the first but merging into a vast ocean, navigated their way through. From recognizing their own transformations to striving for the revitalization of Chinese art, and ultimately extending their compassion to the people. Their sense of mission to explore the "new destiny of an old nation" and their innovation spirit continue to shine brightly, illuminating our path forward.
It is the great artists who continually inscribe the tumultuous times! When Qi Baishi exclaimed, "dare to create alone," perhaps he succinctly summarized the shared artistic attitude of Qi, Xu, and Zhang. This courage is their adherence to the spirit of Chinese literati while innovating. It is the common feature possessed by the Chinese artists of the early 20th century, which is characterized by diverse voices and inclusiveness. Transcending time and space, it is still impressive to our eyes and hearts today.
Translator: SHEN Ruixuan
Reviewer: NIU Lihua