60th Anniversary Exhibition and Academic Symposium of Sino-French Diplomatic Relations: From the Seine to Guanghua Road: The Modernization of "Decoration"
Exhibition Dates:
November 2, 2024 - February 16, 2025
Venue:
Galleries 7 & 14, Fourth Floor, Tsinghua University Art Museum
Opening Ceremony:
9:30 AM, November 5, 2024
Main Hall, First Floor, Tsinghua University Art Museum
Symposium:
November 5, 2024
10:30 AM - 12:00 PM & 2:00 PM - 5:00 PM
Lecture Hall, Fourth Floor, Tsinghua University Art Museum
Preface
This exhibition is launched on the 60th anniversary of the establishment of diplomatic relations between China and France, aiming to show the artistic achievements and academic reflections of Pang Xunqin, Lei Kueiyuan, Zheng Ke, Wu Guanzhong and Chang Shana, the five outstanding artists of the Academy of Arts & Design, Tsinghua University. All of them have a profound connection with French art. They are not only pioneers in the field of modern art and design in China but also significant bridges in cultural exchanges between China and France.
1925 Internationale des Arts Décoratifs et Industriels Modernes (International Exposition of Decorative Arts and Modern Industries) had a far-reaching impact on the world. The Art Deco movement responded to the question of 'how the achievements of modern science and the industrial revolution were reflected in daily life'. Beyond the level of mere aesthetic refinement, decoration played a central rather than a marginal role in the exploration and application of a new phase of the language of form. Given its position as a global cultural center, Paris became a center of attraction for outstanding figures and young talents from all over the world.
In the first half of the 20th century, five artists embarked on a journey of study in Paris. these five predecessors embarked on their study tours to Paris successively. However, their goals were distinctive. Although the highly refined realistic painting techniques taught in the art academies did not seem to impress them, they chose "decoration" and "patterns" (or "design")—a means through which art could transform society and the world. This art was "Art Deco."
As "pioneers" in China's art community, they profoundly recognized the value of decoration and embarked on unique explorations: Pang Xunqin focused on the cultural connotations of decoration, conducting in-depth folklore research and studying the history of patterns; Lei Kueiyuan utilized the methodology of pattern science to analyze traditional Chinese patterns; Zheng Ke explored new concepts in sculpture and industrial design through creative practices; Wu Guanzhong realized the localization and modernization of oil painting; and Chang Shana dedicated herself to the systematic study and contemporary transformation of Dunhuang patterns. Decoration, as an embodiment of the spirit of the times, national culture, and national will, reflected the values of the new era. Throughout this process, culture, as the core dimension of design, consistently permeated their artistic practices, further enhancing the depth and breadth of decorative art.
Departing from social transformation and aestheticization of daily life, they became the pioneers of China's modern social transformation and exploration of the issue of “modernity”, making them the most glorious group with action and dedication in the history of Chinese art and even in the history of modern China.
From the Central Academy of Arts & Design to the Academy of Arts & Design, Tsinghua University, the academic ideals and ideologies of our predecessors were passed on to the students afterwards through various forms of publications, designing and teaching, thereby upgrading the quality of life of the society at large, servicing the major projects of the country and the economic and livelihood needs of the people, and shaping the national image of China in this new era by passing down the excellent achievements with inspiring and influential effects from one generation to the next. Vision and spirit of our predecessors will always be the spiritual lifeblood and academic foundation of this academy.
Introduction
Preamble Hall
The inaugural section of the exhibition, titled "Art Deco and the Great Era," begins our journey along the Seine in Paris during the 1920s and 1930s, centering on the International Exposition of Decorative Arts and Modern Industries of 1925. Through the lenses of graphic design, architectural design, furniture design, and artisanal crafts, it showcases the early educational environments and aesthetic ambiance of five pioneering artists—Pang Xunqin, Lei Kueiyuan, Zheng Ke, Wu Guanzhong, and Chang Shana—who studied in France. These artists' works reflect not only their personal journeys but also the broader cultural and artistic landscape of their time.
Pang Xunqin
Pang Xunqin stands as a pioneer in China's modern art movement and a founder of modern design education. In the 1920s, during his studies in France, he was influenced by Western modern art, integrating modern artistic concepts and techniques into his research on traditional Chinese decorative arts. He was one of the key founders of theCentral Academy of Art & Design.This exhibition unit primarily show Pang Xunqin's achievements in studying decorative arts throughout Chinese history, featuring works such as his research manuscripts on decorative patterns from various dynasties in China dating back to the 1930s, the "Collection of Chinese Patterns," and the "Collection of Arts and Crafts" that incorporates traditional decorative patterns as design elements. These exhibitions embody his modern transformation rooted in the study of traditional decorative patterns, thereby blazing a new trail for modern Chinese art.
Lei Kueiyuan
Lei Kueiyuan was a cornerstone of modern design education in China, a trailblazer in the field of arts and crafts as well as design practice, and one of the primary founders of both Sichuan Provincial Arts College, and the Central Academy of Art & Design. In his early years, he studied in France, where he paid close attention to the French Art Deco movement and studied arts and crafts along with modern design. Influenced by democratic and scientific ideas, he integrated teaching, research, and practice, establishing a far-reaching system of modern pattern studies in China. This exhibition unit displays over a hundred artifacts, including design drafts, archives, manuscripts, photographs, and more. Through typical case studies, it explores the fusion of Chinese and French design, as well as the modern transformation of traditional crafts.
Zheng Ke
Zheng Ke was a sculptor, designer, artisan, and a trailblazer in China's modern art and design education, pioneering the integration of art and science. During the 1920s and 1930s, he studied extensively and deeply in France, focusing on sculpture, applied arts, and industrial design for seven years. As an enthusiastic promoter and explorer of modernist design and fine arts in China, Zheng Ke was among the first to systematically introduce and deeply research foreign modern design education systems. Throughout his career, he was committed to advancing the education of modern industrial design and fostering innovation in three-dimensional modeling in China. Zheng Ke played a crucial role in establishing various majors at the Central Academy of Art & Design, including ceramic sculpture, metalwork, industrial design, and three-dimensional modeling. This exhibition unit displays nearly a hundred items, including documents of design works, manuscripts of design education, archives, books, photographs, and more, systematically presenting Zheng Ke's pioneering and influential educational ideas and teaching methods through charts.
Wu Guanzhong
Wu Guanzhong was an exceptional "People's Artist" who aspired to build a bridge through art, connecting the East and the West, the people and experts, and the concrete and the abstract. In the 1940s, he studied in France, where he persisted in integrating Eastern and Western art and dedicated himself to exploring the "nationalization of oil painting" and the "modernization of traditional Chinese painting." He traveled extensively across the landscapes of his motherland, engaging deeply with nature through sketching and creation. Based on his arduous artistic practice, he proposed profound artistic ideas such as abstract beauty, formal beauty, the concept of "the kite's string never breaks" (representing a continuous connection to reality in abstract art), the refinement and popularity of artistic aesthetics, as well as the inheritance and innovation of traditional Chinese painting. These ideas resonated deeply with people and had a far-reaching impact. Wu Guanzhong joined the faculty of the Central Academy of Art & Design in 1964, where he devoted his life to promoting aesthetic education and advocating for innovative fusion between art and science. He established the "Wu Guanzhong Science and Art Innovation Scholarship Fund" at Tsinghua University to encourage the cultivation of innovative talents for the future. This exhibition unit, themed "Seeking East and West" and "Vicissitudes in Art," showcases Wu Guanzhong's artistic creation characterized by the integration of Eastern and Western art, as well as his artistic world where the heart and the object merge, embodying the philosophy of "mountains and rivers encountering my spirit and leaving traces."
Chang Shana
Chang Shana was a renowned Chinese artisan, patternologist, art educator, and designer, who made immense contributions not only to the research and inheritance of Dunhuang art but also to the integration of Dunhuang aesthetics into modern design. Throughout her decades-long teaching career, she dedicated herself to the transmission of pattern design. She once emphasized two key aspects when teaching pattern design: "the nation's tradition and the naturalness of life. The sources of decorative art lie in traditional expressions and the diverse beauty of nature." When the Central Academy of Art & Design was established in 1956, Chang Shana taught in the Department of Textile and Dyeing Arts and served as its dean from 1983 to 1998. During her tenure, she built a teaching system for textile pattern design centered on the inheritance of Dunhuang patterns, nurturing numerous talents in design and education, and making significant contributions to China's art education. This exhibition collects Chang Shana's research on tradition, sketches of nature, and her classic art design works with a unique decorative style, all inspired by tradition and nature.
The Conclusion Hall
The Conclusion Hall present various aspects of the educational philosophies and academic achievements of five esteemed figures: Pang Xunqin, Lei Kueiyuan, Zheng Ke, Wu Guanzhong, and Chang Shana. It emphasizes their unique contributions to the establishment and development of modern design education in China, the modernization of ethnic traditional resources, and the advancement of the nation and society. Additionally, this section displays the academic propositions, educational principles, and cultural heritage of the Central Academy of Arts & Design (now the Academy of Arts & Design, Tsinghua University) since its inception in 1956, represented by and influenced by these pioneers.
