The Pentium Era - South to North

After dinner, Tan Shuzhen asked Zhang Chen to accompany her to go shopping in the center of Hangzhou. Zhang Chen refused to go no matter what. Tan Shuzhen raised a finger and begged, one time, just one time, and she will never let you accompany her next time.

Zhang Chen shook his head and said, "It won't happen even this time. I hate shopping with women the most."

After Zhang Chen finished speaking, he felt guilty. In fact, he didn't hate shopping with women. He used to accompany Jin Lili, then Xiao Zhao, and even He Hongmei didn't know how many times he went shopping with her. Jin Lili and Xiao Zhao's clothes were basically the same. I bought it on Zhang Chen's suggestion.

Why can't I accompany Tan Shuzhen? Zhang Chen thought about it and understood. Jin Lili and Xiao Zhao became like idiots as soon as they entered the mall, relying 100% on themselves. Tan Shuzhen had too many ideas of her own. Zhang Chen smiled and said:

"I'll go shopping with you, and we'll probably have a fight later on."

"I will let you." Tan Shuzhen said.

"If I don't go," Zhang Chen said, "I'll feel very uncomfortable."

"Why?"

"You bought it unwillingly, it's better to keep it out of sight." Zhang Chen said.

Tan Shuzhen had no choice but to call Xu Qiaoxin. Xu Qiaoxin had already finished her meal at home and returned to the company. Tan Shuzhen asked her if she had time?

"There is still a little time now, and it will be very busy at ten o'clock." Xu Qiaoxin said.

Tan Shuzhen laughed and said, "This is enough time. How about we go shopping in the center of Hangzhou?"

Xu Qiaoxin agreed, and Tan Shuzhen agreed with her on the phone that she would call her downstairs at the dynamic zone.

"I can walk this way by myself." Xu Qiaoxin said.

"It's so cold outside and the phoenix is ​​so big, aren't you afraid of scratching your face?"

Xu Qiaoxin said "Oh" and hung up the phone.

Zhang Chen asked Tan Shuzhen: "What addiction did you get today that makes you want to go shopping so much?"

Tan Shuzhen said: "I haven't gone shopping for two months. If I don't go shopping anymore, I feel like I am no longer a woman."

"It's unreasonable." Zhang Chen shook his head.

The two people went downstairs and drove away. It was still early, and Zhang Chen didn't want to go home, so he decided to go to the "Riverside Oil Painting Gallery" to look at the paintings, check information, and decide on a few topics.

When passing by a "Bald Noodle Shop", Zhang Chen felt hungry. He almost didn't eat the Japanese food just now.

Zhang Chen parked his car in front of the noodle shop and didn't get out of the car. Instead, he pressed down the window and called to the shop owner, asking him to fry a portion of fried noodles with shredded pork, add two poached eggs, and take them away.

Arriving at the parking lot of Genshan Power Plant, Zhang Chen sat in the car and finished the noodles before getting out of the car.

Zhang Chen arrived at the warehouse, poured himself a cup of tea, sat down on the sofa, closed his eyes, and his mind was running at high speed. He wanted to sort out the historical knowledge he already had about Chinese oil painting from scratch.

The origin of Chinese oil painting begins with Matteo Ricci and Castiglione. These missionaries were mainly active in the northern court. Matteo Ricci lived in Beijing for nine years. Castiglione went to China when he was 27 years old and lived in China. Fifty-one years passed through the three dynasties of Kangxi, Yongzheng and Qianlong until his death in Beijing in 1766 at the age of seventy-eight.

Matteo Ricci and Castiglione were undoubtedly the first people to bring oil painting to China, but Zhang Chen did not think that they were Chinese oil painters. They and later the Frenchman Wang Zhicheng, the Bohemian Ai Qimeng, the Italian Pan Tingzhang, etc. , they were all Westerners who served the Chinese emperor. Most of the content they painted was Chinese, and they worked and lived in China.

But it is difficult to say that what they painted was Chinese oil painting, or that they were Chinese oil painters.

This can be a topic choice, but Zhang Chen feels that this point needs special explanation.

When it comes to the "export paintings" stage of the Guangzhou Thirteenth Group, it is a different scene. They are "Western custom-made", that is, according to the needs of Western customers, after the paintings are finished in Guangzhou, they go out by sea, and they are sold to mainland China. The influence is almost very small. That group of painters can be said to completely serve Westerners.

This can be seen from the fact that they all give themselves foreign names, including those used on paintings, and they also sign in English. For example, Guan Zuolin is also called Spoilum, and Guan Qiaochang is also called Lamqua and Lin Gua.

Zhang Chen and his "Riverside Oil Painting Gallery" had a self-portrait of Guan Qiao Chang. Zhang Chen felt it was a pity. If it hadn't been for a middle-aged man wearing a Chinese long coat, Zhang Chen felt that the technique was quite harmonious. It was comparable to Blanc or Rubens, but it was such a masterpiece. It was said that it was very popular at the time because of the low fee.

In this way, a large number of his works were exported overseas. One of them, "Portrait of an Old Man", was also selected for the exhibition of the Royal Academy of Fine Arts. He may be the first Chinese painter to participate in exhibitions in Europe and the United States, but these exhibitions, in addition to bringing him More "business" does not bring more.

His paintings, which were exported to the West along with silk, tea, and porcelain, have now disappeared and are rarely seen. Zhang Chen once asked Yao Fen and Zhao Xin to consciously search overseas, but they could not find them.

Many of Guan Qiaochang's "Western custom" paintings are landscapes, and there are also many Western figure paintings. With his English signature, even Westerners would not think that they were painted by a Chinese.

Zhang Chen feels pity when he thinks about it now.

Zhang Chen believes that the real cradle of Chinese oil painting should be Shanghai's "Tushanwan Painting Gallery" after the "export paintings".

Tushan Bay is located in the southwest of Xujiahui, Shanghai, covering an area of ​​more than 70 acres. In 1864, the Shanghai Catholic Church moved the orphanage here and named it "Tushan Bay Orphanage". In 1867, this place A small church and neat rows of houses were built. These houses are the "Tushanwan Painting Gallery."

More than two hundred orphans aged six to twelve or thirteen were sent here by churches from various places. They were gathered here for six years of painting training. After the study, they stayed in the art studio to paint icons and religious paintings. When the number of works was greatest, the "Tushanwan Painting Gallery", also known as the "Tushanwan Art Workshop", had more than 340 people.

The people who presided over the painting gallery were the Spaniard Fan Tingzuo and the Italian Ma Yigu. The Tushanwan Painting Gallery also made its own oil paints. At that time, all the paintings and sculptures in the Catholic churches in Shanghai came from the Tushanwan Painting Gallery, which had a great influence. .

The "Tushanwan Painting Gallery" has been in existence for more than 90 years since 1864. Modern Chinese painters such as Xu Yongqing, Zhang Chongren, Zhou Xiang, Ren Bonian, Zhang Yuguang, Ding Wei, etc. all received their art education here. It also laid the foundation for Shanghai to become the center of Chinese oil painting in the future. It can be said that it is the cradle of Chinese oil painting and it is well deserved.

Zhang Chen decided to consider "Tushanwan Painting Gallery" as a topic.

Going back in time, the most important figure is Cai Yuanpei. The growth of Xu Beihong, Liu Haisu, Lin Fengmian, and Wu Dayu is all related to Cai Yuanpei.

It was also under his promotion that Western oil painting and artistic ideas were promoted in China. A large number of Chinese young people began to pursue their dreams across the ocean, going to France, the United States, Japan, Germany, Spain and Belgium, and even Mexico. , Chinese oil painting, for the first time, fully integrated with the West.

At this stage, there were too many articles to write and too many special topics to shoot. Zhang Chen decided to put them aside for now. He felt that they needed to be sorted out.

According to the method he and Liu Qing discussed, Zhang Chen felt that since the five or six episodes were a special topic of their own, there was no need to follow the timeline. The entire history of Chinese oil painting could be cut into sections, like sausages. One event after another can be jumped in time and interspersed with each other. This form will actually be more lively and attractive.

Zhang Chen thought that Maximov's oil painting training class could be a topic selection. It would have a profound impact on Chinese oil painting, even China's art education, and even art examinations.

In the spring of 1955, the Ministry of Culture made a decision to hire Soviet expert Maximov to come to China and start an oil painting training class at the Central Academy of Fine Arts - the "Maximov Training Class", referred to as the "Horse Training Class".

maximum The formulation of teaching syllabus for various departments of the Academy of Fine Arts.

The "Horse Training Class" started in the spring of 1955 and ended in July 1957. There were a total of nineteen students, all of whom were selected from various art schools, military units, publishing houses, artists' associations and other units across the country. , they are Feng Fasi, Jin Shangyi, Zhan Jianjun, He Kongde, Hou Yimin, Gao Hong, Wang Dewei, Wang Liuqiu and so on.

These people later became important figures in the Chinese oil painting circle, and served as department heads, deans, principals and other positions in various art schools. The art education ideas and methods of the former Soviet Union were introduced to them through the "Horse Training Class", and then It has affected the entire Chinese art academies now.

Maximov particularly emphasized the importance of sketching in his teaching methods. From that time on, sketching was promoted to an unprecedented height in Chinese art education. A sketch requires forty to eighty class hours. Complete, even longer, the purpose is to train students to be completely faithful to the subject of the painting through such demanding and delicate training.

The emphasis on sketching can be said to be that sketching is paramount, so that later in the art test, the scores for sketching and coloring were the same. As a candidate, if you are not good at sketching, no matter how good the coloring is, you are destined to fail.

Zhang Chen feels that this kind of rigid and rigorous teaching may be beneficial to a painter's skill training and craftsmanship cultivation, but it will definitely stifle the artist's imagination and creativity. If he follows Maximov's teaching requirements , many famous painters around the world are unqualified, especially those after the Impressionists.

As an art event with great influence, Zhang Chen felt that it was necessary to introduce the "Maximov Training Course" to everyone.

Zhang Chen also thought about the topics of "Scar Art" and "Star Art Exhibition", but in the end he felt it was too sensitive and inappropriate and gave up.

When he decided to give up, Zhang Chen himself laughed. He joked to himself, Professor Zhang, have you ever been so good?

Zhang Chen originally just wanted to sit here and sort out his thoughts, but after his thoughts became smoother, he couldn't help it. He simply turned on the computer and started writing. He wrote more than 8,000 words on several topics, and he felt hungry when he finished writing. , he himself felt strange, is writing articles so helpful for digestion?

Looking at his watch, Zhang Chen was shocked. It was already past five o'clock in the morning. He had been here all night, no wonder he was hungry.

Zhang Chen sent the written topic plan to Liu Qing's email. After thinking about it, he couldn't help but proudly sent a text message to Liu Qing: "The topic plan has been written and has been sent to your email."

After sending the text message, Zhang Chen stood up and was about to leave when his cell phone rang. It was Liu Qing calling. Zhang Chen quickly picked it up. Liu Qing asked:

"Brother Zhang, where are you?"

"Oil Painting Gallery."

"Are you too nervous to sleep?" Liu Qing asked.

Zhang Chen said with a smile: "Look and write, and before you know it, the whole night has passed."

"Okay, thank you for your hard work. Go back and go to sleep." Liu Qing said.

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