The Establishment and Development of Jiangsu Provincial Academy of Traditional Chinese Painting

Jiangsu has always been a place where masters of painting come forth in large numbers. At the beginning of the founding of New China, the Party and the government attached great importance to inheriting and carrying forward the excellent tradition of China's calligraphy and painting. 1956, Premier Zhou Enlai put forward the proposal of establishing China Painting Academy at the second Chinese People's Political Consultative Conference Conference. According to the spirit of this conference, the Jiangsu Provincial Academy of Chinese Painting began to build in 1957 and was formally established in 1960. At the beginning of the formal establishment of the Academy of Painting, the established purpose was to implement the Party's policy of "two operations" and "letting a hundred flowers blossom", take the road of "learning from nature" and create Chinese paintings synchronized with the times. 1In the autumn of 1960, Dean Fu Baoshi organized 13 painters to sketch 23,000 Li for the "Jiangsu Traditional Chinese Painting Working Group" for three months. They believe that "we should polish our eyes, broaden our knowledge and broaden our minds" and launch a number of representative works to adapt to the new era.

196 1 May, Beijing held a landscape painting exhibition. The exhibition caused great repercussions and received rave reviews, and was praised as "skillfully using traditional pen and ink to show the great rivers and mountains of the motherland." But also broke through the shackles of the old pen and ink and created new pen and ink on the basis of tradition. "This laid the important position of Jiangsu Provincial Academy of Chinese Painting in the country and influenced the development of Chinese painting at that time. Critics call it the "New Jinling School of Painting", which is juxtaposed with the later equally famous "Chang 'an School of Painting". Fu Baoshi's Landscape, Xiling Gorge, Zaoyuan, Qian Songnie's Red Rock and Changshu Field, as well as the works of painters such as Yaming, Song Wenzhi and Wei Zixi, have all become masterpieces of a generation. In calligraphy, Mr. Lin Sanzhi is known as a "contemporary sage". The representative works include "Chinese-Japanese Friendship Cursive", "Xu Yao's Cursive on Huai Su" and "Self-written Cursive", among which "Chinese-Japanese Friendship Cursive" is known as the first cursive in Lin Sanzhi. Wu Zhongqi and Fei Xinwo are well-known at home and abroad.

1977 After the restoration of the Academy, Qian Songnie served as the president, Yaming, Song Wenzhi and Wu Zhongqi served as the vice presidents, which inherited the fine tradition of "learning from nature" and reflecting the times in Jiangsu Academy of Traditional Chinese Painting. In September and 10, the Academy organized 14 painters to go to Hunan to sketch, and held the exhibition "Morning Glory in Furong Country", which was successful and well received. Since the Third Plenary Session of the Eleventh Central Committee, cultural exchanges between China and foreign countries have become increasingly frequent. China Painting Academy has organized painters to go out to hold exhibitions for many times, thus expanding the popularity of the Academy. For example, 1979 held the "Landscape Painting Exhibition of Some Painters of Jiangsu Provincial Academy of Chinese Painting" in Hong Kong, and 1980 held the "People's Republic of China (PRC) Modern Art Exhibition and Works Exhibition of Jiangsu Provincial Academy of Chinese Painting" in Nagoya.

1984165438+10. In October, the leadership of the Academy was adjusted, and Yu and Yu served as vice presidents (later elected as vice presidents). The Jiangsu Academy of Chinese Painting entered a new development period and continued to create brilliant achievements in the national painting world. Over the past 20 years, the Academy has always adhered to the correct direction and laws of artistic creation, and has achieved rich creative results. It not only inherits the excellent tradition but also advocates innovation, not only carries forward the national artistic spirit but also boldly absorbs the nutrition of foreign art, pays attention to carrying forward the main theme and advocates diversity, and has both the unified will and the painter's personal creative freedom, so that the painter is in a good creative environment for a long time. Thus, the enthusiasm of individual painters and painters was mobilized, and the creative achievements were very rich. In all previous national exhibitions, the Academy of Painting was the best in selection and award-winning. In the Eighth National Art Exhibition, there were 7 outstanding Chinese paintings in the province, including 4 in the Academy, 3 in the province and 2 in the Academy. In the Ninth National Art Exhibition, 29 Chinese paintings were selected in the province, including 7 in the Academy, 6 in the province and 3 in the Academy. According to incomplete statistics, in the past 20 years, more than 100 works of the Academy of Painting have been selected for national art exhibitions, winning nearly 50 national and international gold, silver and bronze awards, and more than 90 outstanding and honorary awards. A large number of works by painters in the Academy of Painting are collected by museums and collection agencies at home and abroad. In addition, the Academy also published 12 kinds of works of Jiangsu Provincial Academy of Traditional Chinese Painting, and more than 40 painters published monographic collections and more than 30 kinds of collections.

At the end of 1980s, the Academy launched the "Three Lines" campaign, namely, the Northwest Line, the Southwest Line and the Jiangsu Line, aiming at promoting the diversified development of art, rather than the unification, thus emphasizing the exertion of the painter's personality. Later, the leaders of the Academy of Painting found that they paid too little attention to the present life, and there were few works with the main theme. Therefore, on the occasion of the 35th anniversary of the establishment of the Academy of Painting, the "Love My Jiangsu" activity was launched, and the painter described the ever-changing changes in Jiangsu with full enthusiasm and achieved success. In the mid-1990s, after careful investigation, Dean Zhao Xucheng analyzed the present situation of Chinese painting in Jiangsu, and thought that artistic creation should not only advocate diversified development, but also vigorously carry forward the main theme. At that time, the current situation was that there were more ancient paintings than modern paintings, more sketches than giant paintings, and more bridges and flowing water than modern scenes. It was decided to prepare for the first Jiangsu Art Festival. The first Jiangsu Fine Arts Festival put forward the slogan of "developing diversity, carrying forward the mainstream and creating fine works" and achieved great success. The launching scale of the art festival is unprecedented, the number of participating works is unprecedented, and the quality, level and influence of the works are unprecedented. The first Jiangsu Art Exhibition played a positive role in the healthy development of Chinese painting, and was included in the centennial memorabilia of "Centennial China Art Exhibition". At the end of 1990s, from 265,438 to the beginning of the 20th century, President Zhao Xucheng made a further understanding, thinking and discussion on the present situation, characteristics and problems of Chinese painting development, and put forward the "four meteorology" issues of Chinese painting development. He believes that Chinese painting will change from tradition to modernity, and develop within the framework of "multi-meteorology (individual meteorology)" as the core, "Zheng Da meteorology" as the leading factor, "China meteorology" as the foothold and "modern meteorology" as the general trend, which has been recognized by the outside world and responded by painters of the Academy of Painting, and works adapted to the new era have been launched one after another, such as the 200 1 of the Academy of Painting. In 2003, the series of "Modern Urban Ink and Wash Exhibition" sponsored by the Jiangsu Provincial Department of Culture and undertaken by the Provincial Painting Academy was launched. This activity is an important project of Jiangsu's cultural undertakings and a milestone in the development of Jiangsu's fine arts. The activity advocated modern concepts, modern themes, modern languages and modern painting styles, which formed a brand-new situation of Jiangsu ink painting and had a strong artistic influence in the national painting world. In order to promote the development of Chinese painting, the Academy will hold "Fu Baoshi Prize (Painting)" and "Lin Sanzhi Prize (Calligraphy)" in 2003 and 2004 respectively, and then hold it every three years, making it one of the most influential art exhibitions at home and abroad.

Zhou Jingxin, the current president of the College (succeeded by 2065 438+00. 8), and Hu Ningna and Liu Yun are vice presidents. At present, Jiangsu Provincial Academy of Traditional Chinese Painting has five academies, namely, administrative office, art committee, landscape, figures, flowers and birds, calligraphy and theory, as well as art museum, Fu Baoshi Memorial Hall and training department. Jiangsu Provincial Academy of Traditional Chinese Painting insists on creating a United and harmonious environment, and puts forward the principle of "respecting the old, taking the young and centering" for painters of different ages, so painters always have a relaxed and peaceful creative humanistic environment. In the mid-1980s, the collective activities of painters in the past were obviously contrary to the development of the times. In view of this problem, the Academy of Painting has clearly formulated the policy of "focusing on individual artistic creation and activities, combining the academy, studio and individual" in artistic creation, thus better mobilizing the artist's personal creative enthusiasm and ranking among the best in previous national exhibitions. The Academy of Painting has also carried out a series of reforms on the school-running mechanism. For example, middle-level cadres and all painters are appointed; To implement the remuneration system, artists need to pay a certain amount and considerable quality of works every year in order to get paid; Collection incentive mechanism, that is, good works and excellent works can open distribution checkpoints through collection; Open the school, recruit special painters and exhibitors for outstanding painters outside the school, so as to expand exchanges inside and outside the school, promote the development of artistic creation inside and outside the school, and promote artistic exchanges between East, West, North and South. This series of measures has had a far-reaching impact on the National Academy of Painting and provided valuable experience for exploring the reform of the operational mechanism of the Academy.