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美在苏杭

<p class="ql-block">刘勃舒</p><p class="ql-block">菊花青血汗马</p><p class="ql-block">1982年</p><p class="ql-block">115 X 55cm</p><p class="ql-block">纸本水墨</p><p class="ql-block">2023年刘勃舒家属捐赠</p><p class="ql-block">Liu Boshu</p><p class="ql-block">Chrysanthemum Blue</p><p class="ql-block">Sweating Blood Horse</p><p class="ql-block">1982</p><p class="ql-block">115 X 55cm</p><p class="ql-block">Ink on paper</p><p class="ql-block">Donated by the family of Li Boshu in 2023</p> <p class="ql-block">梁树年</p><p class="ql-block">青山白云（轴）</p><p class="ql-block">1982年</p><p class="ql-block">88×67cm</p><p class="ql-block">纸本设色</p><p class="ql-block">Liang Shunian</p><p class="ql-block">Green Mountains and White Clouds (scroll)</p><p class="ql-block">1982</p><p class="ql-block">88 X 67cm</p><p class="ql-block">Ink and pigment on paper</p> <p class="ql-block">李可染</p><p class="ql-block">满目青山夕照明（轴）</p><p class="ql-block">1980年代</p><p class="ql-block">70 X 46.5cm</p><p class="ql-block">纸本设色</p><p class="ql-block">Li Keran</p><p class="ql-block">The Setting Sun Illuminates the Verdant Mountains (scroll)</p><p class="ql-block">1980s</p><p class="ql-block">70 X 46.5cm</p><p class="ql-block">Ink and pigment on paper</p> <p class="ql-block">田世光</p><p class="ql-block">竹林双寿</p><p class="ql-block">1990年</p><p class="ql-block">137 X 68cm</p><p class="ql-block">纸本设色</p><p class="ql-block">2017年田世光家属捐赠</p><p class="ql-block">Tian Shiguang</p><p class="ql-block">Twin Longevities in the Bamboo Grove</p><p class="ql-block">1990</p><p class="ql-block">137 X 68cm</p><p class="ql-block">Ink and pigment on paper</p><p class="ql-block">Donated by the family of Tian Shiguang in 2017</p> <p class="ql-block">贾又福</p><p class="ql-block">Jia Youfu</p><p class="ql-block">太行山高（轴）</p><p class="ql-block">Majestic Taihang Mountains (scroll)</p><p class="ql-block">1980年代</p><p class="ql-block">1980s</p><p class="ql-block">245 X 61cm</p><p class="ql-block">245 X 61cm</p><p class="ql-block">纸本设色</p><p class="ql-block">Ink and pigment on paper</p> <p class="ql-block">叶浅予</p><p class="ql-block">荷花舞（轴）</p><p class="ql-block">1960年</p><p class="ql-block">138.5 X 69.5cm</p><p class="ql-block">纸木设色</p><p class="ql-block">1998年艺术家本人捐赠</p><p class="ql-block">Ye Qianyu</p><p class="ql-block">Dancing Among the Lotus (scroll)</p><p class="ql-block">1960</p><p class="ql-block">138.5 X 69.5cm</p><p class="ql-block">Ink and pigment on paper</p><p class="ql-block">Donated by the artist in 1988</p> <p class="ql-block">张立辰</p><p class="ql-block">Zhang Lichen</p><p class="ql-block">墨竹</p><p class="ql-block">Ink Bamboo</p><p class="ql-block">1995年</p><p class="ql-block">1995</p><p class="ql-block">137 X 68cm</p><p class="ql-block">137 × 68cm</p><p class="ql-block">纸木墨笔</p><p class="ql-block">Ink on paper</p><p class="ql-block">1998年艺术家本人捐赠</p><p class="ql-block">Donated by the artist in 1998</p> <p class="ql-block">唐勇力</p><p class="ql-block">敦煌之梦</p><p class="ql-block">-母子情深</p><p class="ql-block">1995年</p><p class="ql-block">82 X 82cm</p><p class="ql-block">纸木水墨</p><p class="ql-block">2018年艺术家本人捐赠</p><p class="ql-block">Tang Yongli</p><p class="ql-block">Dream of Dunhuang</p><p class="ql-block">-Deep Motherly Love</p><p class="ql-block">1995</p><p class="ql-block">82 X 82cm</p><p class="ql-block">Ink on paper</p><p class="ql-block">Donated by the artist in 2018</p> <p class="ql-block">卢沉</p><p class="ql-block">程林醉酒图</p><p class="ql-block">Lu Chen</p><p class="ql-block">1990年</p><p class="ql-block">137.5 X 68.5cm</p><p class="ql-block">纸木水墨</p><p class="ql-block">Drunkenness in the Frosty Forest</p><p class="ql-block">1990</p><p class="ql-block">137.5 X 68.5cm</p><p class="ql-block">Ink on paper</p><p class="ql-block">2000年艺术家木人掛赠</p><p class="ql-block">Donated by the artist in 2000</p> <p class="ql-block">周思聪 <span style="font-size:18px;">Zhou Sicong</span></p><p class="ql-block">清晨</p><p class="ql-block">Dawn</p><p class="ql-block">1963年</p><p class="ql-block">1963</p><p class="ql-block">80 X 119cm</p><p class="ql-block">80 X 119cm</p><p class="ql-block">绢本没色</p><p class="ql-block">Ink and pigment on silk</p><p class="ql-block"><br></p> <p class="ql-block">蒋兆和</p><p class="ql-block">亩产10万斤（轴）</p><p class="ql-block">1958年</p><p class="ql-block">110 x 87.5cm</p><p class="ql-block">纸木设色</p><p class="ql-block">Jiang Zhaohe</p><p class="ql-block">A Hundred Thousand</p><p class="ql-block">Grams Every Acre (scroll)</p><p class="ql-block">1958</p><p class="ql-block">110 X 87.5cm</p><p class="ql-block">Ink and pigment on paper</p> <p class="ql-block">黄均</p><p class="ql-block">铁展号火车</p><p class="ql-block">1952年</p><p class="ql-block">47 × 64cm</p><p class="ql-block">纸木设色</p><p class="ql-block">Huang Jun</p><p class="ql-block">Train Tiezhan</p><p class="ql-block">1952</p><p class="ql-block">47 X 64cm</p><p class="ql-block">Ink and pigment on paper</p> <p class="ql-block">郭味蕖</p><p class="ql-block">Guo Weiqu</p><p class="ql-block">绿天（轴）</p><p class="ql-block">Green View (scroll)</p><p class="ql-block">1962年</p><p class="ql-block">1962</p><p class="ql-block">140×102cm</p><p class="ql-block">140x 102cm</p><p class="ql-block">纸木没色</p><p class="ql-block">Ink and pigment on paper</p> <p class="ql-block">李琦</p><p class="ql-block">主席走遍全国</p><p class="ql-block">1980年代</p><p class="ql-block">192 X 116cm</p><p class="ql-block">纸本设色</p><p class="ql-block">2023年李琦家属打贈</p><p class="ql-block">Li Qi</p><p class="ql-block">Chairman Visits All Over the Country</p><p class="ql-block">1980s</p><p class="ql-block">192 X 116cm</p><p class="ql-block">Ink and pigment on paper</p><p class="ql-block">Donated by the family of Li Qi in</p><p class="ql-block">2023</p><p class="ql-block">1958年1月，十三陵水库开始动工建设。同年5月，艺术家李琦在十三陵水库参加劳动井采风时，见到了与群众一起劳动的毛主席，并据此创作了《毛主席在十三陵水库》，获得了</p><p class="ql-block">1959年世界青年联欢节美术竞赛奖。1960年，李琦又以该画为蓝本，将背景简化，做留白处理，创作了这幅在当时极具影响力的《主席走遍全国》。</p><p class="ql-block">艺术家选取了毛主席视察全国途中站立小憩的生动瞬间，并精心设计了一顶草帽。毛主席身穿白衬衫、灰布裤子，右手持草帽，左手自然地叉在腰间，头发被风略微吹起，正用慈祥、容智的眼光眺望远方。整幅画无任何陪衬背景，以略带俯视的视角突出毛主席的伟岸身材，将墨他与留白、写实与写意巧妙融合，用高超的造型能力刻画出了毛主席风尘仆仆，心系人民群众那平凡而又伟大的形象。</p><p class="ql-block">In January 1958, construction began on the Ming Tombs Reser-voir. That May, artist Li Qi joined the labor effort and sketched on-site, where he encountered Chairman Mao working alongside the people. Inspired by this scene, Li created Chairman Mao at the Ming Tombs Reservoir, which won an award at the 1959 World Festival of Youth and Students art competition. In 1960, building on this earlier work, Li simplified the background, leaving it blank, and created the highly influential Chairman Visits All Over the Country.</p><p class="ql-block">The painting captures a vivid moment of Chairman Mao pausing during his nationwide inspec-tions. Li carefully designed the composition, adding a straw hat as a symbolic element. Mao is depicted in a white shirt and gray trousers, holding the hat in his right hand while resting his left hand naturally on his waist. His hair is slightly tousled by the wind as he gazes into the distance with a benevolent and wise .</p><p class="ql-block">The work features no background details, using a slightly elevated perspective to emphasize Chairman Mao's commanding figure. Li Qi masterfully blends ink tones with blank space, and realism with impressionism, portraying Mao as a tireless leader deeply connected to the people. The painting highlights his ordinary yet extraordinary character, evoking both warmth and reverence through its refined artistry and evocative imagery.</p> <p class="ql-block">齐白石</p><p class="ql-block">楷书（轴）（从群众中来到群众中去）</p><p class="ql-block">1950年</p><p class="ql-block">297 X 74cm</p><p class="ql-block">纸本墨笔</p><p class="ql-block">Qi Baishi</p><p class="ql-block">Regular (scroll)</p><p class="ql-block">(Coming from the crowd and going to the crowd)</p><p class="ql-block">1950</p><p class="ql-block">297 X 74cm</p><p class="ql-block">Ink on paper</p> <p class="ql-block">潘天寿</p><p class="ql-block">松鹰（轴）</p><p class="ql-block">Pine and Eagel (scroll)</p><p class="ql-block">1961年</p><p class="ql-block">1961</p><p class="ql-block">225 X 70cm</p><p class="ql-block">225 X 70cm</p><p class="ql-block">纸木设色</p><p class="ql-block">Ink and pigment on paper</p><p class="ql-block">Pan Tianshou</p> <p class="ql-block">李苦禅 <span style="font-size:18px;">Li Kuchan</span></p><p class="ql-block">竹鸡（轴）</p><p class="ql-block">Bamboo and Chicken (scroll)</p><p class="ql-block">1960年</p><p class="ql-block">1960</p><p class="ql-block">94 X 35cm</p><p class="ql-block">94 X 35cm</p><p class="ql-block">纸木设色</p><p class="ql-block">Ink and pigment on paper</p><p class="ql-block"><br></p> <p class="ql-block">胡佩衡 <span style="font-size:18px;">Hu Peiheng</span></p><p class="ql-block">漓江秋云（轴）</p><p class="ql-block">ang River (scroll)</p><p class="ql-block">1961年</p><p class="ql-block">1961</p><p class="ql-block">179% 97cm</p><p class="ql-block">179 X 97cm</p><p class="ql-block">金地设他</p><p class="ql-block">Ink and pigment on gold-foil paper</p><p class="ql-block"><br></p> <p class="ql-block">傅抱石</p><p class="ql-block">山水（轴）</p><p class="ql-block">(scroll)</p><p class="ql-block">1960年</p><p class="ql-block">1960</p><p class="ql-block">105 X6lcm</p><p class="ql-block">105 X 61cm</p><p class="ql-block">纸木设色</p><p class="ql-block">Fu Baoshi</p><p class="ql-block">Mountain and River</p><p class="ql-block">Ink and pigment on paper</p> <p class="ql-block">钱松喦</p><p class="ql-block">红岩</p><p class="ql-block">1960年</p><p class="ql-block">74X48.Scm</p><p class="ql-block">纸本设色</p><p class="ql-block">Qian Songyan</p><p class="ql-block">Red Rocks</p><p class="ql-block">1960</p><p class="ql-block">74 X 48.5cm</p><p class="ql-block">Ink and pigment on paper</p> <p class="ql-block">刘凌仓</p><p class="ql-block">天女散花（轴）</p><p class="ql-block">1960年</p><p class="ql-block">95 X 35cm</p><p class="ql-block">纸木设色</p><p class="ql-block">1960年艺术家本人捐赠</p><p class="ql-block">Liu Lingcang</p><p class="ql-block">Fairy Scattering Petals (scroll)</p><p class="ql-block">1960</p><p class="ql-block">95 X 35cm</p><p class="ql-block">Ink and pigment on paper</p><p class="ql-block">Donated by the artist in 1960</p> <p class="ql-block">王雪涛</p><p class="ql-block">花卉鸡（轴）</p><p class="ql-block">Flowers and Chickens (scroll)</p><p class="ql-block">1947年</p><p class="ql-block">1947</p><p class="ql-block">100 X 34cm</p><p class="ql-block">100 × 34cm</p><p class="ql-block">纸本设他</p><p class="ql-block">Ink and pigment on paper</p><p class="ql-block">Wang Xuetao</p> <p class="ql-block">陈年</p><p class="ql-block">Chen Nian</p><p class="ql-block">月季</p><p class="ql-block">Chinese Rose (scroll)</p><p class="ql-block">1910年代</p><p class="ql-block">1940s</p><p class="ql-block">995 X 325cm</p><p class="ql-block">99.5 X 32,5cm</p><p class="ql-block">紙本设色</p><p class="ql-block">Ink and pigment on paper</p> <p class="ql-block">溥儒</p><p class="ql-block">Pu Ru</p><p class="ql-block">墨笔山水（轴）</p><p class="ql-block">Ink Landscape (scroll)</p><p class="ql-block">194811:</p><p class="ql-block">1948</p><p class="ql-block">128 X 44.5cm</p><p class="ql-block">128 X 44.5 cm</p><p class="ql-block">纸本墨笔</p><p class="ql-block">Ink on paper</p> <p class="ql-block">张大千</p><p class="ql-block">华山长空栈图（轴）</p><p class="ql-block">Hua Mountain's Long</p><p class="ql-block">Plank Walk (scroll)</p><p class="ql-block">1930年代</p><p class="ql-block">1930s</p><p class="ql-block">135 X 47cm</p><p class="ql-block">135 X 47cm</p><p class="ql-block">纸木设他</p><p class="ql-block">Ink and pigment on paper</p><p class="ql-block">Zhang Daqian</p> <p class="ql-block">萧谦中</p><p class="ql-block">Xiao Qianzhong</p><p class="ql-block">秋岭归云图</p><p class="ql-block">Returning Clouds Over</p><p class="ql-block">Autumn Mountains</p><p class="ql-block">1930-1940年代</p><p class="ql-block">1930s-1940s</p><p class="ql-block">124 X 57cm</p><p class="ql-block">124 X 57cm</p><p class="ql-block">纸木设化</p><p class="ql-block">Ink and pigment on paper</p> <p class="ql-block">徐悲鸿</p><p class="ql-block">Xu Beihong</p><p class="ql-block">钟馗（舢）</p><p class="ql-block">1939年</p><p class="ql-block">112 X SScm</p><p class="ql-block">纸本设色</p><p class="ql-block">Zhong Kui (scroll)</p><p class="ql-block">1939</p><p class="ql-block">112 X SScm</p><p class="ql-block">Ink and pigment on paper</p><p class="ql-block">此幅《钟馗》创作于1939年6月21日的端午节午时，当时正值抗战，国难当头，身在南洋的徐悲鸿正在为抗日救国举办画展。五月初五为重午，这一天的午时是全年阳气最盛的时刻。阳代表正气、君子，可以驱除晦气、邪气。在这特的历史时刻，《钟道》一作中的“以正胜邪”有着特殊的历史意义。</p><p class="ql-block">画中钟道背对观众，着蓝色长袍，红色腰带插有笏板，手持棕色折扇，回头观画外，头上着破乌纱帽，浓眉长须，侧视怒目，呈现一种坚定而愤怒的眼神。</p><p class="ql-block">作品中可以看出画家努力将中国画的线条与西面的造型明暗相结合，追求新意。而且，徐悲鸿笔下的钟馗不似出世的古人或神仙，而更像是一位身边的然人，将神像现实化，借古喻</p><p class="ql-block">今，这是他带给中国传统绘画的新思考。</p><p class="ql-block">Zhong Kui was painted on June 21, 1939, the Dragon Boat Fes-tival. It was during the Chinese War of Resistance against Japanese Aggression and the country was suffering from national trage-dy. At that time, Xu Beihong was holding a painting exhibition in Nanyang to raise funds for the war effort. Double "wu" (referring to both noon and five) meets on the Sth of lunar May, therefore, this day is considered to be the peak of the year's yang energy.</p><p class="ql-block">Yang represents righteousness and virtue, and it is believed to have the power to dispel evil spir-its. In this special historical con-text, the theme of "overcoming evil with righteousness" in this painting takes on a particular sig-nificance. In the painting, Zhong Kui is depicted with his back to the viewer, wearing a blue robe and a red sash with a hu (a flat scepter), holding a brown folding fan, and looking back over his shoulder. He wears a tattered black hat, with thick eyebrows and a long beard, appearing stern and angry.</p><p class="ql-block">The work reflects the artist's attempt to combine the lines of Chinese painting with the modeling and chiaroscuro of Western painting in pursuit of a new style.</p><p class="ql-block">Moreover, Xu Beihong's Zhong Kui does not resemble an otherworldly figure or a deity, but rather a familiar acquaintance.</p><p class="ql-block">By bringing the divine image into the realm of the everyday and borrowing from the past as a metaphor for the present, Xu Bei-hong offers a new perspective on traditional Chinese painting.</p> <p class="ql-block">徐悲鸿</p><p class="ql-block">立马（轴）</p><p class="ql-block">1947年</p><p class="ql-block">109 X S3.3cm</p><p class="ql-block">纸木墨笔</p><p class="ql-block">Xu Beihong</p><p class="ql-block">Horse in Fall Gallop (scroll)</p><p class="ql-block">1947</p><p class="ql-block">109 X 53.3cm</p><p class="ql-block">Ink on paper</p><p class="ql-block">从画面上的题跋铃印可以看出，《立马》是一幅赠予友人的作品，是徐悲鸿晚年艺术成熟时期的马画作品的精彩之作。</p><p class="ql-block">徐悲鸿的马汲取了西面的焦点透视、光影明暗，也汲取了中国传统的没骨技法，巧妙地将西方明暗造型的理念，转化为中国的笔墨语言，是他倡导的“中国画改良”的重要实践。</p><p class="ql-block">徐悲鸿对于融汇中西的大胆尝试，也体现在其既细致严谨又粗犷豪放的笔墨技法上。如西马的鼻孔、胸肌，及骨关节等处，用缤密严谨之笔，精勾细</p><p class="ql-block">染而画被风吹拂的鬃毛和马尾，或某些轮廓线，则用阔笔、粗笔，点浓墨或焦墨任意急速挥洒，充满着动感和气势。</p><p class="ql-block">徐悲鸿爱马、可马，他以马喻才，不仅将马与战争时事，和国家象征相联系，更是将马看作生逢乱世、命运多变的，自己的知心朋友与情感寄托。</p><p class="ql-block">The inscription and the seal on the painting indicate that Standing Horse was a gift dedicated to his friend, and a masterpiece of Xu Beihong's horse paintings in his late stage of art maturity.</p><p class="ql-block">Xu Beihong's horses integrate</p><p class="ql-block">Western painting techniques such as focal perspective, depiction of light and shadow, with traditional Chinese boneless painting techniques. Xu Beihong skillfully transformed Western concepts of light and shadow modeling into the expressive language of Chinese brushwork, embodying his advocacy for the important practice of "Reform of Chinese Paint-ing". From this painting, we can see his bold attempts, as his use of brush and ink is meticulous, precise, and meanwhile harsh and unconstrained. For example, when painting the horse's nos-</p><p class="ql-block">trls, pectoral muscles, bones and</p><p class="ql-block">joints, he would accurately draw an outline and carefully apply ink and wash; while describing the horse's windblown mane and tail, or some contour lines, he would use a wide brush and thick brush dipped in concentrated ink or charred ink to paint freely and swiftly, rendering it full of vitality and momentum.</p><p class="ql-block">He loved to paint horses, he compared the horse to a talent, not only associated the horse with the then-current war affairs and national symbols, but also regarded the horse as a friend and emotional support for him who had suffered a changeable life in troubled times.</p> <p class="ql-block">郑開</p><p class="ql-block">玉兰孔雀（轴）</p><p class="ql-block">1920年</p><p class="ql-block">167 X 72cm</p><p class="ql-block">绢本设色</p><p class="ql-block">Zheng Jin</p><p class="ql-block">Yulan Magnolia and</p><p class="ql-block">Peacock (scroll)</p><p class="ql-block">1920</p><p class="ql-block">167 X 72cm</p><p class="ql-block">Ink and pigment on silk</p><p class="ql-block">郑锦早年留学日本，研习日本画，是中央美术学院最早前身北京美术学校的创校校长。他的军太设色画《玉兰孔雀》，创作于1920年，是一幅内容祥瑞的祝寿题材作品，展现了一只孔雀栖息于玉兰花枝的生动场景。画中，孔雀羽毛色彩斑斓，与浩白清新的玉兰花形成鲜明对比，共同营造出和谐优美的画面氛围。在技法上，郑锦巧妙地融合了传统绘画的细腻笔触与现代艺术的平面化探索。</p><p class="ql-block">他对孔雀羽毛的精细描绘和对玉兰花瓣的清新呈现，充分体现了其深厚的绘画功底和对色彩运用的独到见解。</p><p class="ql-block">20世纪20年代是中国近代史上的一个变革时期。一方面，传统文化在西方文化的冲击下经历着深刻的变革；另一方面，国内的政治动荡和社会变迁为艺术创作提供了丰富的土壤。</p><p class="ql-block">在这一背景下，郑锦的作品不仅仅是对美的追求，更是对时代精神的深刻反映。他的绘画融合了传统与创新，既体现了对传统文化的坚守，也展现了对新时代的期待和探索。</p><p class="ql-block">Zheng Jin, an early pioneer of Chinese modern art and the founding principal of the Beijing Fine Art School (a predecessor of the Central Academy of Fine Arts), studied Japanese painting during his time in Japan. His silk scroll painting Yulan Magnolia and Peacock, completed in 1920, is a work imbued with auspicious connotations, often associated with birthday celebrations. The artwork vividly depicts a peacock perched on the branches of a magnolia tree, its resplendent feathers creating a striking contrast with the pristine white magnolia blossoms, evoking a harmonious and serene atmosphere.</p><p class="ql-block">In terms of technique, Zheng Jin skillfully blends the meticulous brushwork of traditional Chinese painting with the modernist exploration of flat, decorative com-position. His detailed rendering of the peacock's feathers and the freshness of the magnolia petals showcase his exceptional artistic skill and unique sensitivity to color.</p><p class="ql-block">The 1920s marked a transformative period in China's modern his-tory. Traditional culture underwent profound changes under the influence of Western ideas, while domestic political turmoil and social shifts provided fertile ground for artistic innovation. Within this context, Zheng Jin's work goes beyond a mere pursuit of beauty; it reflects the spirit of the times. His paintings merge tradition with innovation, embodying a deep respect for cultural heritage while expressing anticipation and exploration of a new era.</p> <p class="ql-block">齐白石</p><p class="ql-block">松應（舢）</p><p class="ql-block">1935年</p><p class="ql-block">150 X 63cm</p><p class="ql-block">纸本水照</p><p class="ql-block">1935介艺术家本人相赠</p><p class="ql-block">Qi Baishi</p><p class="ql-block">Pine and Eagle (scroll)</p><p class="ql-block">1935</p><p class="ql-block">150 X 63cm</p><p class="ql-block">Ink on paper</p><p class="ql-block">Donated by the artist himselfin 1935</p><p class="ql-block">此幅《松鹰》创作于1935年，画面中一雄鹰屹立松柏之上，身形挺拔，侧目凝视，眼神冷傲。</p><p class="ql-block">画之右侧书有引自杜市《 度》的题可诗一首：“素练风箱起，苍鹰（画）作姝。身思狡鬼，侧目似愁胡。绦镟光堪摘，轩楹势可呼。何当击凡鸟，毛血酒平光。”作品以松鹰托物言志，体现了君子、英才、英主的浩然正气和远大抱负。</p><p class="ql-block">此作还有着特的历更意义。</p><p class="ql-block">画面左下部齐自石补题“乙亥春，旧京国立北平艺术专科学校开教授所面展会览，此松鹰图亦在校展览，校长严季聪先生见之喜，余即将此幅捐入校内陈列室，永远陈列。”文字间可见白石老人对于此事的珍重。作品至今已经在中央美术学院保存近90年，成内中央美术学院美术馆的馆藏珍品。</p><p class="ql-block">This painting, created in 1935, depicts a goshawk on a towering pine tree, its posture upright, its gaze sideways, its eyes cold and haughty. On the right side of the painting is Du Fu's poem "Paint-ing Goshawk" inscribed in cursive script: "The silk scroll rises with wind and frost, the painted goshawk stands out alone. Its body poised to catch a sly rabbit, its sideways glance suggests barbarian woes. Its talons and beak are ready to pluck, its posture calls for a grand hall. When will it strike down the common birds, and let their blood and feathers stain the plain?" The work uses the goshawk on a towering pine tree to express the artist's aspira-tions, embodying the noble spirit and lofty ambitions of the virtue, the talented, and the wise.</p><p class="ql-block">This work is also of special historical significance. In the lower-left corner, Qi Baishi added an in-scription: "In the spring of Yihai</p><p class="ql-block">(1935), a group exhibition of professors paintings was held at the National Art School in Beiping.</p><p class="ql-block">This painting was also on display, in which principal Yan Jicong was greatly interested. I donated the piece to the school for permanent display with no hesitation." The words reveal the old man's attachment to the school and memory of the exhibition. The work has been preserved in the Central Academy of Fine Arts for nearly 90 years and has become a one of the most treasured artworks in its collection.</p> <p class="ql-block">方舟</p><p class="ql-block">Fang Zhou</p><p class="ql-block">花卉（轴）</p><p class="ql-block">Flowers (scroll)</p><p class="ql-block">1926年</p><p class="ql-block">1926</p><p class="ql-block">76 X 33cm</p><p class="ql-block">76 X 33cm</p><p class="ql-block">纸本设色</p><p class="ql-block">Ink and pigment on paper</p> <p class="ql-block">王凱成</p><p class="ql-block">公妇（S）</p><p class="ql-block">Begar Wisman (sorall)</p><p class="ql-block">1932年</p><p class="ql-block">艺术家本人捐贈</p><p class="ql-block">BawxS2am</p><p class="ql-block">104X 520</p><p class="ql-block">纸本設色</p><p class="ql-block">hal snal pigencat on paper</p><p class="ql-block">Droalhy thearss dunein 1952</p><p class="ql-block">Wăng Kaicheng</p> <p class="ql-block">李可染</p><p class="ql-block">Li Keran</p><p class="ql-block">咏梅图（轴）</p><p class="ql-block">Ode to Plum Blossoms (scroll)</p><p class="ql-block">19404F1E</p><p class="ql-block">69 X 49cm</p><p class="ql-block">纸本没也</p><p class="ql-block">1940s</p><p class="ql-block">69 X 49cm</p><p class="ql-block">Ink and pigment on paper</p><p class="ql-block">李可染师从齐白石、黄宾虹，潜心于民族传统绘画的研究与创作，他的中国画探索分为两个时期，1950年之后以山水画著称，而1950年之前他则以写意人物画见长，并得到徐悲鸿等人称赞。</p><p class="ql-block">《咏梅图（轴）》这件作品是李可染早期高士人物题材作品的代表之作，作品表现了梅花环绕下，文人高士咏梅的闲适生活，反映画家对于文人崇高思想境界和人生志趣的追求，表现中西方绘画结合的意趣，题材笔法显示出中国画传统，构图形象又显示了西面入物特征。三位高额细目的古典人物形象简洁概括，造型构景上别出心裁，人物表情传神生动。</p><p class="ql-block">Li Keran, a disciple of Qi Baishi and Huang Binhong, devoted himself to the study and creation of traditional Chinese painting.</p><p class="ql-block">Li's artistic journey can be divided into two phases: after 1950, he gained fame for his landscape paintings, whereas before 1950, he excelled in freehand figure painting, earning praise from Xu Beihong and others.</p><p class="ql-block">Ode to Plum Blossoms (scroll) represents his early work in the scholar-recluse figure genre. This piece depicts scholars immersed in a tranquil moment of admiration for plum blossoms, a symbol of lofty ideals and noble aspira-tions. The painting reflects Li's pursuit of the scholar's elevated spiritual realm and his integration of Chinese and Western artistic elements. The work balances traditional Chinese painting techniques with a unique perspective informed by Western figure stud-ies. The three classical figures, characterized by high foreheads and finely rendered features, are succinctly portrayed. Their expressions are vivid and lifelike, and the composition demonstrates a harmonious blend of imaginative scenery and expressive detail, marking this as a masterful example of Li Keran's early achievements in figure painting.</p> <p class="ql-block">罗工柳</p><p class="ql-block">左权像</p><p class="ql-block">1942年</p><p class="ql-block">16.5 X 13.5cm</p><p class="ql-block">黑白木刻</p><p class="ql-block">2016年罗工柳家屈相购</p><p class="ql-block">Luo Gongliu</p><p class="ql-block">Portrait of General Zuo</p><p class="ql-block">Quan</p><p class="ql-block">1942</p><p class="ql-block">16.5 × 13.5cm</p><p class="ql-block">Black and white woodcut</p><p class="ql-block">Donated by the family of Luo Gongliu</p><p class="ql-block">胡一川</p><p class="ql-block">攻城</p><p class="ql-block">1946年</p><p class="ql-block">13 X 17.8cm</p><p class="ql-block">套化木刻</p><p class="ql-block">2018年胡一川象屈相则</p><p class="ql-block">此幅《攻城》版画创作于1946年，抗战胜利后，著名美术家胡一川跟随部队离开延安悲伤，在冀中等地战火中实地考察，收集素材，进行了大量速写采风，《攻城）作品酝酿而生。</p><p class="ql-block">因当时条件好转，此幅作品来用套色木刻的形式，比黑白木刻更有视觉感染力，画面尺幅较小，但整体气势雄伟，视觉最突出的光源集中在城楼上方的爆炸火光上，凸显空间纵深感，硝烟弥漫的场景烘托出紧张激烈的氛围和将士们不畏险阻的战斗精神。</p><p class="ql-block">胡一川以“攻城”为母题的创作贯穿20世纪40年代下半叶，分别创作了一件套色木刻版画、一幅年画和一幅油画作品，通过几利创作形式来表现“前线的战士勇于攻城并解放苦难的中国”。作为取材于真实战场的经典美术作品，此作体现出闭一川在创作中追求宏大叙事的同时，高度重视对艺术叙事性的选择，他以自身的艺术敏锐和革命热血，考察井挖掘出这一主题颇具感染力的吋代形象。</p><p class="ql-block">Hu Yichuan</p><p class="ql-block">Attacking the City</p><p class="ql-block">1946</p><p class="ql-block">13 X 17.8cm</p><p class="ql-block">Color woodcut</p><p class="ql-block">Donated by the family of Hu Yichuan in 2018</p><p class="ql-block">Created in 1946, Attacking the City is a woodblock print by renowned artist Hu Yichuan. Following the victory in the War of Resistance against Japan, Hu traveled with the troops, departing from Yan'an. In the midst of battlefields in central Hebei and other regions, he conducted field studies, gathered materials, and produced numerous sketches, which laid the groundwork for this piece. With improved conditions at the time, the work was created using the multi-color woodblock technique, which offered greater visual impact compared to traditional black-and-white woodcuts. Despite its relatively small scale, the piece exudes a majestic presence. The focal point of the composition is the explosion above the city gate, where the concentrated light source enhances the sense of spatial depth. The smoke-filled scene underscores the tension and intensity of the battle, as well as the fearless fighting spirit of the sol-diers.</p><p class="ql-block">The theme of "attacking the city" recurs throughout Hu Yichuan's works in the latter half of the 1940s. He created a multi-color woodblock print, a New Year painting, and an oil painting, all of which depict frontline soldiers bravely assaulting fortifications and liberating a suffering China.</p><p class="ql-block">This piece, inspired by real battlefield experiences, exemplifies Hu's commitment to grand narrative while emphasizing the importance of artistic storytelling.</p><p class="ql-block">Through his keen artistic sensitivity and revolutionary fervor, Hu identified and vividly portrayed a powerful and evocative image of his era.</p><p class="ql-block">秋收</p><p class="ql-block">1947年</p><p class="ql-block">17 X 19.7cm</p><p class="ql-block">套化木刻</p><p class="ql-block">2020年古元家属扣期</p><p class="ql-block">古元 Gu Yuan</p><p class="ql-block">Autumn Harvest</p><p class="ql-block">1947</p><p class="ql-block">17 × 19.7cm</p><p class="ql-block">Color woodcut</p><p class="ql-block">Donated by the family of Gu Yuan in</p><p class="ql-block">《秋收》是古元创作于1947年的套色木刻。作品以人民劳作收获的场面为题材，兼具写实与浪漫主义风格。人物的错落分布加强了作品的节奏感，同时展现出秋收的过程。蔚蓝的天空下农人各自忙碌，金黄的麦田、悠哉的牲备和田埂对岸长势喜人的庄稼，无不洋溢着丰收的喜悦。此画采用阳刻法，以线条造型并巧妙运用了对比也，整个画面显示出明朗的调子，更适应人民群众的审美习惯。</p><p class="ql-block">古元曾说“我总想表现人民的生活”，作品反映了他深深扎根于人民生活中的体验，具有强烈的时代感。1947年《中国土<span style="font-size:18px;">地法大纲》颁布，解放区的农民分得士地，生产热情高涨《秋收》包含着人民对土地当家作主的喜悦，通过艺术的形式展现（宣传）了土地改革的具体效果。这件作品参加了1949年在北平艺专校内举办的“中华全国文学艺术工作者代表大会艺术展览会“第一届全国美展）并作为封面作品刊登于同年出版的展览同名画集《美术作品集》</span></p><p class="ql-block">Gu Yuan's color woodcut print in 1947, Autumn Harvest, depicts the scene of people laboring and harvesting. Blending realism and romanticism, the staggered figures create a rhythmic portrayal of the autumn harvest. Under the blue sky, farmers work diligently in golden wheat fields. Lazy livestock and promising crops on the distant ridge exude the joy of harvest. This woodcut print is in relief, utilizing lines and contrasting colors to create a bright tone that matches the aesthetics of the people.</p><p class="ql-block">Gu Yuan once said, "I always want to express the life of the people." His works deeply reflect his connection with the people1947, China's Land Law granted land to peasants in liberated for production. Autumn Harvest captures this joy of land owner-ship and propagates the concrete results of land reform throughart. The work was exhibited atthe "Art Exhibition of the Congress of All-China Literary and Art Workers" (the First "National Art Exhibition") in 1949 and fea-tured on the cover of the Selected Artworks published that year to</p> <p class="ql-block">王式廓以造二流子</p><p class="ql-block">1947年</p><p class="ql-block">17 × 26cm</p><p class="ql-block">套色木刻</p><p class="ql-block">2011年王式廓家属捐贈</p><p class="ql-block">Wang Shikuo</p><p class="ql-block">Reforming Degenerate</p><p class="ql-block">1947</p><p class="ql-block">17 X 26cm</p><p class="ql-block">Color woodcut</p><p class="ql-block">Donated by the family of Wang Shi-kuo in 2011</p><p class="ql-block">冯真</p><p class="ql-block">Feng Zhen</p><p class="ql-block">娃娃戏（年画）</p><p class="ql-block">Children's Play (New Year</p><p class="ql-block">Painting)</p><p class="ql-block">1948年</p><p class="ql-block">1948</p><p class="ql-block">36 X S4cm</p><p class="ql-block">36 X S4cm</p><p class="ql-block">纸本印刷</p><p class="ql-block">Paper-based printing</p><p class="ql-block">2023年艺术家本人捐购</p><p class="ql-block">Donated by the artist in 2023</p><p class="ql-block">此幅《改造二流子》最初创作于1943年，原为黑白木刻，</p><p class="ql-block">1947年作者加工成套色木刻，作为年画发行，是延安美术的杰出画家王式廓的早期代表作品之一。此作描绘的是抗日战争时期在边区展开的大生产运动中，为了增加生产而开展的“改造二流子”运动。所谓“二流子”，通常指农村中有家庭，但是没有生活目标、好逸恶劳的人。画面中的“二流子”畏缩在一旁接受来自同乡长辈及同辈们的批评和教育，而一旁的婆姨以一种不愿意面对且十分伤心的样子背朝观众依卧在碾</p><p class="ql-block">此作画面具有强烈的戏剧性和动态感，人物面貌丰富，整体营造出了一种对立的紧张气氛。同时，作品表现了延安时期“改造二流子”运动的重要意义，反映了通过劳动改造社会落后分子的思想，重建新的价值观，进而推动树立社会新风、促进生产建设的作用。</p><p class="ql-block">This work, Reforming Degenerate, was initially created in 1943 as a black-and-white woodcut. In 1947, the artist reworked it into a multicolored woodcut, releasing it as a New Year picture. It is one of the early representative works of Wang Shikuo, a prominent artist of the Yan'an art movement.</p><p class="ql-block">The piece depicts the "Reforming Degenerate" campaign, carried out during the War of Resistance Against Japan as part of the large-scale production movement in the border regions. The campaign aimed to boost production by rehabilitating "degenerates"—a term referring to rural individu• als who, despite having families, lacked purpose in life and lived idly. In the artwork, the "degener-ate" crouches timidly on one side, receiving criticism and education from village elders and peers. Beside him, a sorrowful woman, unable to face the situation, reclines on a grinding stone with her back to the viewer.</p><p class="ql-block">This piece is characterized by its dramatic tension and dynamic composition. The expressions and appearances of the characters are richly detailed, creating an overall atmosphere of confrontation and conflict. At the same time, the work highlights the significance of the "Reforming Degenerate" movement during the Yan'an pe-riod, illustrating how labor was used to transform socially backward individuals, rebuild values, foster new social norms, and contribute to productive develop-ment.</p> <p class="ql-block">李桦</p><p class="ql-block">都市的喑角1947年</p><p class="ql-block">24.2×36cm</p><p class="ql-block">套色木刻</p><p class="ql-block">1998年李桦家属捐赠</p><p class="ql-block">郑野夫</p><p class="ql-block">流动铁工厂</p><p class="ql-block">194S年</p><p class="ql-block">11.5×17.5cm</p><p class="ql-block">黑白木刻</p><p class="ql-block">2014年郑野夫家属捐赠</p><p class="ql-block">Li Hua</p><p class="ql-block">Dark Corners of the City</p><p class="ql-block">1947</p><p class="ql-block">24.2 X 36cm</p><p class="ql-block">Color woodcut</p><p class="ql-block">Donated by the family of Li Hua in 1998</p><p class="ql-block">Zheng Yefu</p><p class="ql-block">Mobile Ironworks</p><p class="ql-block">1945</p><p class="ql-block">11.5 X 17.5cm</p><p class="ql-block">Black and white woodcut</p><p class="ql-block">Donated by the family of Zheng Yefu in 2014</p><p class="ql-block">玉琦</p><p class="ql-block">嘉陵江上</p><p class="ql-block">1940年</p><p class="ql-block">15.1 X 17cm</p><p class="ql-block">黑白木刻</p><p class="ql-block">2006年艺术家本人捐赠</p><p class="ql-block">玉琦</p><p class="ql-block">抵岸</p><p class="ql-block">1948年</p><p class="ql-block">16cm X 27.5cm</p><p class="ql-block">黑白木刻</p><p class="ql-block">2006年艺术家本人捐赠</p><p class="ql-block">Wang Qi</p><p class="ql-block">On the Jialing River</p><p class="ql-block">1940</p><p class="ql-block">15.1 × 17cm</p><p class="ql-block">Black and white woodcut</p><p class="ql-block">Donated by the artist in 2006</p><p class="ql-block">Wang Qi</p><p class="ql-block">Arriving at Shore</p><p class="ql-block">1948</p><p class="ql-block">16cm X 27.5cm</p><p class="ql-block">Black and white woodcut</p><p class="ql-block">Donated by the artist in 2006</p> <p class="ql-block">郑野夫</p><p class="ql-block">棚户怒潮</p><p class="ql-block">1935年</p><p class="ql-block">15 X 16cm</p><p class="ql-block">黑自木刻</p><p class="ql-block">2014年郑野夫家属捐赠</p><p class="ql-block">刘岘</p><p class="ql-block">“黄河水灾”之二</p><p class="ql-block">1934年</p><p class="ql-block">14×2lcm</p><p class="ql-block">黑白木刻</p><p class="ql-block">2019年刘岘家属捐赠</p><p class="ql-block">Zheng Yefu</p><p class="ql-block">Anger of Shack Dwellers</p><p class="ql-block">1935</p><p class="ql-block">15 X 16cm</p><p class="ql-block">Black and white woodcut</p><p class="ql-block">Donated by the family of Zheng Yefu in 2014</p><p class="ql-block">Liu Xian</p><p class="ql-block">The Yellow River Flood (I)</p><p class="ql-block">1934</p><p class="ql-block">14 X 21cm</p><p class="ql-block">Black and white woodcut</p><p class="ql-block">Donated by the family of Liu Xian in</p><p class="ql-block">2019</p><p class="ql-block">郑野夫</p><p class="ql-block">仇视</p><p class="ql-block">1932年</p><p class="ql-block">18 X 15cm</p><p class="ql-block">黑白木刻</p><p class="ql-block">2014年郑野夫家属捐赠</p><p class="ql-block">刘岘</p><p class="ql-block">马克思侧影</p><p class="ql-block">1932年</p><p class="ql-block">13×10cm</p><p class="ql-block">黑白木刻</p><p class="ql-block">2019年刘岘家属捐赠</p><p class="ql-block">Zheng Yefu</p><p class="ql-block">Hatred</p><p class="ql-block">1932</p><p class="ql-block">18 X 15cm</p><p class="ql-block">Black and white woodcut</p><p class="ql-block">Donated by the family of Zheng Yefu in 2014</p><p class="ql-block">Liu Xian</p><p class="ql-block">Profile of Marx</p><p class="ql-block">1932</p><p class="ql-block">13 X 10cm</p><p class="ql-block">Black and white woodcut</p><p class="ql-block">Donated by the family of Liu Xian in 2019</p><p class="ql-block">罗工柳</p><p class="ql-block">鲁迅像</p><p class="ql-block">1936年</p><p class="ql-block">16 X 13cm</p><p class="ql-block">黑白木刻</p><p class="ql-block">2016年罗工柳家属捐购</p><p class="ql-block">刘岘</p><p class="ql-block">两工人（同志）</p><p class="ql-block">1932年</p><p class="ql-block">33 X 19cm</p><p class="ql-block">黑白木刻</p><p class="ql-block">2019年刘岘家属捐购</p><p class="ql-block">Luo Gongliu</p><p class="ql-block">Portrait of Lu Xun</p><p class="ql-block">1936</p><p class="ql-block">16 X 13cm</p><p class="ql-block">Black and white woodcut</p><p class="ql-block">Donated by the family of Luo Gongliu in 2016</p><p class="ql-block">Liu Xian</p><p class="ql-block">Two Workers (Comrades)</p><p class="ql-block">1932</p><p class="ql-block">33 × 19cm</p><p class="ql-block">Black and white woodcut</p><p class="ql-block">Donated by the family of Liu Xian in 2019</p> <p class="ql-block">刘岘</p><p class="ql-block">Liu Xian</p><p class="ql-block">伐木者</p><p class="ql-block">1947年</p><p class="ql-block">32 × 25cm</p><p class="ql-block">黑白木刻</p><p class="ql-block">2019年刘岘家属指赠</p><p class="ql-block">Lumberjack</p><p class="ql-block">1947</p><p class="ql-block">32 X 25cm</p><p class="ql-block">Black and white woodcut</p><p class="ql-block">Donated by the family of Liu Xian in 2019</p> <p class="ql-block">彦涵</p><p class="ql-block">冬学</p><p class="ql-block">1944年</p><p class="ql-block">13 X 18cm</p><p class="ql-block">黑白木刻</p><p class="ql-block">2006年艺术家本人捐赠</p><p class="ql-block">彦涵</p><p class="ql-block">奋勇迎击</p><p class="ql-block">1943年</p><p class="ql-block">16 X 24cm</p><p class="ql-block">黑白木刻</p><p class="ql-block">2006年艺术家本人捐赠</p><p class="ql-block">Yan Han</p><p class="ql-block">Winter School</p><p class="ql-block">1944</p><p class="ql-block">13 X 18cm</p><p class="ql-block">Black and white woodcut</p><p class="ql-block">Donated by the artist in 2006</p><p class="ql-block">Yan Han</p><p class="ql-block">Bravely Counterattack</p><p class="ql-block">1943</p><p class="ql-block">16 X 24cm</p><p class="ql-block">Black and white woodcut</p><p class="ql-block">Donated by the artist in 2006</p><p class="ql-block">李桦</p><p class="ql-block">辱与仇</p><p class="ql-block">1940年</p><p class="ql-block">18×2lcm</p><p class="ql-block">黑白木刻</p><p class="ql-block">1998年李桦家属捐购</p><p class="ql-block">李桦</p><p class="ql-block">战时服务队</p><p class="ql-block">1940年</p><p class="ql-block">18 × 25.5cm</p><p class="ql-block">黑自木刻</p><p class="ql-block">1998年李桦家屈捐购</p><p class="ql-block">Li Hua</p><p class="ql-block">Insult and Hatred</p><p class="ql-block">1940</p><p class="ql-block">18 X 21cm</p><p class="ql-block">Black and white woodcut</p><p class="ql-block">Donated by the family of Li Hua in</p><p class="ql-block">1998.</p><p class="ql-block">Li Hua</p><p class="ql-block">Wartime Service Team</p><p class="ql-block">1940</p><p class="ql-block">18 X 25.5cm</p><p class="ql-block">Black and white woodcut</p><p class="ql-block">Donated by the family of Li Hua in 1998.</p><p class="ql-block">玉琦</p><p class="ql-block">抢收</p><p class="ql-block">1940年</p><p class="ql-block">12.1×16cm</p><p class="ql-block">黑白木刻</p><p class="ql-block">2006年艺术家本人捐赠</p><p class="ql-block">王琦</p><p class="ql-block">“敌机去后” 之一</p><p class="ql-block">1940年</p><p class="ql-block">11 X 11.5cm</p><p class="ql-block">黑白木刻</p><p class="ql-block">2006年艺术家本人捐赠</p><p class="ql-block">Wang Qi</p><p class="ql-block">Rush Harvest</p><p class="ql-block">1940</p><p class="ql-block">12.1 X 16cm</p><p class="ql-block">Black and white woodcut</p><p class="ql-block">Donated by the artist in 2006</p><p class="ql-block">Wang Qi</p><p class="ql-block">After the Enemy Planes</p><p class="ql-block">Left (I)</p><p class="ql-block">1940</p><p class="ql-block">11 X 11.5cm</p><p class="ql-block">Black and white woodcut</p><p class="ql-block">Donated by the artist in 2006</p> <p class="ql-block">彦涵</p><p class="ql-block">冬学</p><p class="ql-block">1944年</p><p class="ql-block">13 X 18cm</p><p class="ql-block">黑白木刻</p><p class="ql-block">2006年艺术家本人捐赠</p><p class="ql-block">彦涵</p><p class="ql-block">奋勇迎击</p><p class="ql-block">1943年</p><p class="ql-block">16 X 24cm</p><p class="ql-block">黑白木刻</p><p class="ql-block">2006年艺术家本人捐赠</p><p class="ql-block">Yan Han</p><p class="ql-block">Winter School</p><p class="ql-block">1944</p><p class="ql-block">13 X 18cm</p><p class="ql-block">Black and white woodcut</p><p class="ql-block">Donated by the artist in 2006</p><p class="ql-block">Yan Han</p><p class="ql-block">Bravely Counterattack</p><p class="ql-block">1943</p><p class="ql-block">16 X 24cm</p><p class="ql-block">Black and white woodcut</p><p class="ql-block">Donated by the artist in 2006</p><p class="ql-block">李桦</p><p class="ql-block">辱与仇</p><p class="ql-block">1940年</p><p class="ql-block">18×2lcm</p><p class="ql-block">黑白木刻</p><p class="ql-block">1998年李桦家属捐购</p><p class="ql-block">李桦</p><p class="ql-block">战时服务队</p><p class="ql-block">1940年</p><p class="ql-block">18 × 25.5cm</p><p class="ql-block">黑自木刻</p><p class="ql-block">1998年李桦家屈捐购</p><p class="ql-block">Li Hua</p><p class="ql-block">Insult and Hatred</p><p class="ql-block">1940</p><p class="ql-block">18 X 21cm</p><p class="ql-block">Black and white woodcut</p><p class="ql-block">Donated by the family of Li Hua in</p><p class="ql-block">1998.</p><p class="ql-block">Li Hua</p><p class="ql-block">Wartime Service Team</p><p class="ql-block">1940</p><p class="ql-block">18 X 25.5cm</p><p class="ql-block">Black and white woodcut</p><p class="ql-block">Donated by the family of Li Hua in 1998.</p><p class="ql-block">玉琦</p><p class="ql-block">抢收</p><p class="ql-block">1940年</p><p class="ql-block">12.1×16cm</p><p class="ql-block">黑白木刻</p><p class="ql-block">2006年艺术家本人捐赠</p><p class="ql-block">王琦</p><p class="ql-block">“敌机去后” 之一</p><p class="ql-block">1940年</p><p class="ql-block">11 X 11.5cm</p><p class="ql-block">黑白木刻</p><p class="ql-block">2006年艺术家本人捐赠</p><p class="ql-block">Wang Qi</p><p class="ql-block">Rush Harvest</p><p class="ql-block">1940</p><p class="ql-block">12.1 X 16cm</p><p class="ql-block">Black and white woodcut</p><p class="ql-block">Donated by the artist in 2006</p><p class="ql-block">Wang Qi</p><p class="ql-block">After the Enemy Planes</p><p class="ql-block">Left (I)</p><p class="ql-block">1940</p><p class="ql-block">11 X 11.5cm</p><p class="ql-block">Black and white woodcut</p><p class="ql-block">Donated by the artist in 2006</p> <p class="ql-block">彦涵</p><p class="ql-block">冬学</p><p class="ql-block">1944年</p><p class="ql-block">13 X 18cm</p><p class="ql-block">黑白木刻</p><p class="ql-block">2006年艺术家本人捐赠</p><p class="ql-block">彦涵</p><p class="ql-block">奋勇迎击</p><p class="ql-block">1943年</p><p class="ql-block">16 X 24cm</p><p class="ql-block">黑白木刻</p><p class="ql-block">2006年艺术家本人捐赠</p><p class="ql-block">Yan Han</p><p class="ql-block">Winter School</p><p class="ql-block">1944</p><p class="ql-block">13 X 18cm</p><p class="ql-block">Black and white woodcut</p><p class="ql-block">Donated by the artist in 2006</p><p class="ql-block">Yan Han</p><p class="ql-block">Bravely Counterattack</p><p class="ql-block">1943</p><p class="ql-block">16 X 24cm</p><p class="ql-block">Black and white woodcut</p><p class="ql-block">Donated by the artist in 2006</p><p class="ql-block">李桦</p><p class="ql-block">辱与仇</p><p class="ql-block">1940年</p><p class="ql-block">18×2lcm</p><p class="ql-block">黑白木刻</p><p class="ql-block">1998年李桦家属捐购</p><p class="ql-block">李桦</p><p class="ql-block">战时服务队</p><p class="ql-block">1940年</p><p class="ql-block">18 × 25.5cm</p><p class="ql-block">黑自木刻</p><p class="ql-block">1998年李桦家屈捐购</p><p class="ql-block">Li Hua</p><p class="ql-block">Insult and Hatred</p><p class="ql-block">1940</p><p class="ql-block">18 X 21cm</p><p class="ql-block">Black and white woodcut</p><p class="ql-block">Donated by the family of Li Hua in</p><p class="ql-block">1998.</p><p class="ql-block">Li Hua</p><p class="ql-block">Wartime Service Team</p><p class="ql-block">1940</p><p class="ql-block">18 X 25.5cm</p><p class="ql-block">Black and white woodcut</p><p class="ql-block">Donated by the family of Li Hua in 1998.</p><p class="ql-block">玉琦</p><p class="ql-block">抢收</p><p class="ql-block">1940年</p><p class="ql-block">12.1×16cm</p><p class="ql-block">黑白木刻</p><p class="ql-block">2006年艺术家本人捐赠</p><p class="ql-block">王琦</p><p class="ql-block">“敌机去后” 之一</p><p class="ql-block">1940年</p><p class="ql-block">11 X 11.5cm</p><p class="ql-block">黑白木刻</p><p class="ql-block">2006年艺术家本人捐赠</p><p class="ql-block">Wang Qi</p><p class="ql-block">Rush Harvest</p><p class="ql-block">1940</p><p class="ql-block">12.1 X 16cm</p><p class="ql-block">Black and white woodcut</p><p class="ql-block">Donated by the artist in 2006</p><p class="ql-block">Wang Qi</p><p class="ql-block">After the Enemy Planes</p><p class="ql-block">Left (I)</p><p class="ql-block">1940</p><p class="ql-block">11 X 11.5cm</p><p class="ql-block">Black and white woodcut</p><p class="ql-block">Donated by the artist in 2006</p> <p class="ql-block">彦涵</p><p class="ql-block">当敌人搜山的时候</p><p class="ql-block">1943年</p><p class="ql-block">22 X 19cm</p><p class="ql-block">黑白木刻</p><p class="ql-block">2006年艺术家本人捐赠</p><p class="ql-block">Yan Han</p><p class="ql-block">When the Enemy</p><p class="ql-block">Searched the Mountains</p><p class="ql-block">1943</p><p class="ql-block">22 X 19cm</p><p class="ql-block">Black and white woodcut</p><p class="ql-block">Donated by the artist in 2006</p> <p class="ql-block">彦涵</p><p class="ql-block">Yan Han</p><p class="ql-block">杀临前线指挥的彭德怀将军</p><p class="ql-block">General Peng Dehu-ai Commanding at the Front</p><p class="ql-block">19414</p><p class="ql-block">22 X 16cm</p><p class="ql-block">1941</p><p class="ql-block">22 X 16cm</p><p class="ql-block">黑白木刻</p><p class="ql-block">Black and white woodcut</p><p class="ql-block">2006年艺术家本人相购</p><p class="ql-block">Donated by the artist in 2006</p><p class="ql-block">此幅《亲临前线指挥的彭德怀将军》是著名版画家彦涵创作于1941年的黑白木刻。在抗日</p><p class="ql-block">This black-and-white woodcut,</p><p class="ql-block">General Peng Dehuai Commanding at the Front, was created in</p><p class="ql-block">战争的敌后战场上，彦涵以刻刀为武器，展现解放区生活与战斗的真实写照，成为“解放区木刻”的主要代表人之一。</p><p class="ql-block">画面安排极富有象征性，中心的彭德怀手持望远镜、神色凝重地看向前方。后方的松柏铿锵有力，傲骨峥嵘，象征着彭德怀将军坚韧不拔的英雄气概和中华民族不屈的意志。画面刻制十分精细，人物形象写实，在当时的创作条件下是否难得</p><p class="ql-block">1940年10月关家垴战役中，彭德怀不顾在日军炮弹的射程范围内的危险，坚持在战争的最前线指挥作战。这一历史瞬间被随军记者徐肖冰拍下并刊登在国内外报刊上，引起强烈的反响。看到照片后的彦涵深受震撼，以此为原型创作了此作。</p><p class="ql-block">1941 by renowned printmaker Yan Han. During the War of Resistance Against Japan, Yan wielded his carving tools like weapons, vividly portraying life and battles in the liberated areas. As a leading figure of the "Liberated Area Woodcut Movement," his works reflect the resilience and struggles of the era. The composition of this piece is highly symbolic. At its center, General Peng Dehuai holds binoculars, his expression solemn as he gazes toward the front lines. Behind him, robust pine and cypress trees stand tall, embodying the General's indomitable heroic spirit and the unyielding will of the Chinese na-tion. The intricate craftsmanship and realistic depiction of figures make this artwork especially re-markable, given the challenging conditions under which it was created.</p><p class="ql-block">这件作品通过印刷等手段广为传播，在老百姓的争相观看中，彭德怀将军的英勇形象被广为传颂，极大地鼓舞了人民群众战胜侵咯者的决心和信心。</p><p class="ql-block">The piece is based on a historical moment from the Battle of Guan-jianao in October 1940, when General Peng, despite the danger of being within Japanese artillery range, insisted on commanding from the front lines. This scene was captured by wartime photojournalist Xu Xiaobing and published in domestic and international outlets, evoking strong reactions. Yan Han, profoundly moved upon seeing the photo-graph, used it as inspiration for this artwork. Widely disseminated through print media, the piece brought General Peng's heroic image to the masses. It resonated deeply with the public, inspiring confidence and determination to overcome the invaders, and became a powerful symbol of resistance and unity during the war.</p> <p class="ql-block">刘岘</p><p class="ql-block">Liu Xian</p><p class="ql-block">巩固团结抗战到底</p><p class="ql-block">Strengthen Unity and Fight the War of Resistance to the End</p><p class="ql-block">1938年</p><p class="ql-block">1938</p><p class="ql-block">11X9cm</p><p class="ql-block">11 X 9cm</p><p class="ql-block">黑白木刻</p><p class="ql-block">Black and white woodcut</p><p class="ql-block">2019年刘岘家属捐赠</p><p class="ql-block">Donated by the family of Liu Xian in</p><p class="ql-block">2019</p><p class="ql-block">此幅《巩固团结抗战到底》是</p><p class="ql-block">20世纪中国新兴木刻运动先驱刘岘的代表作之一。画面中心是“巩固团结抗战到底”八个大字是重要的抗战口号，周围的飞机正在向地面投掷炸弹，大字下面，还有士兵端着枪准备射击。画面下方城市中是振臀高呼、散发传单的人们，开山打铁、制造武器为抗战提供物资支援的民众，正在冲锋陷阵或已受伤被担架抬走的战士，还有军舰、坦克，和右下角被打落的侵略者旗帜。</p><p class="ql-block">这样超时空的构图组合和细致的木口木刻在当时并不多见，是20世纪上半叶中国版画中木口木刻的一幅经典力作，也是抗战美术更上的一个反映时代精神的美术精品，从中可见刘</p><p class="ql-block">岘期望通过艺术创作号召民众团结一致、全面抗战的愿景。</p><p class="ql-block">This woodcut, Strengthen Unity and Fight the War of Resistance to the End, is one of the signature works by Liu Xian, a pioneer of China's 20th-century New Woodcut Movement. At the heart of the composition are eight bold characters proclaiming the significant wartime slogan, "Strengthen Unity and Fight the War of Resistance to the End." Surrounding this message are scenes of airplanes dropping bombs, soldiers with rifles ready to engage, and a city teeming with activity below.</p><p class="ql-block">In the lower section, the artist depicts individuals raising their fists and distributing leaflets, civilians forging weapons to support the war effort, soldiers charging into battle, and others injured and carried away on stretchers. The composition also features warships, tanks, and in the bottom right, a fallen flag of the invaders, symbolizing their defeat.</p><p class="ql-block">The imaginative spatial composition and detailed burin engraving make this work unique in its time. It stands as a classic masterpiece of early 20th-century Chinese wood engraving and an emblem of wartime art. Through this piece, Liu Xian aimed to inspire the public to unite and fully commit to the resistance effort, reflecting the spirit and urgency of the era.</p> <p class="ql-block">李桦</p><p class="ql-block">Li Hua</p><p class="ql-block">怒吼吧，中国</p><p class="ql-block">Roar, China</p><p class="ql-block">1935年</p><p class="ql-block">1935</p><p class="ql-block">27.S×18.7cm</p><p class="ql-block">27.5 X 18.7cm</p><p class="ql-block">黑白木刻</p><p class="ql-block">Black and white woodcut</p><p class="ql-block">1998年李桦家属捐赠</p><p class="ql-block">Donated by the family of Li Hua in</p><p class="ql-block">1998.</p><p class="ql-block">李桦是著名版画家、美术教育家、中国现代版画事业奠基人。</p><p class="ql-block">他在鲁迅的指引下走上木刻道路，中国新兴木刻运动伟大的先驱就此诞生。</p><p class="ql-block">《怒吼吧，中国》是李桦的代表作之一。一个被蒙上双眼，被绳索捆在木桩上的国人同胞，竭尽全力在挣脱束缚；挣扎让他扭曲了身体，努力张开的双手用力去拾起掉落在一旁的匕首，似乎有种巨大的无力感。李桦用了极度抽象、概括的手法，简洁的画面处理，十分鲜明地塑造出一种饱受战争摧残，但仍未放弃反抗的英勇气概，一种发自灵魂深处的怒吼。</p><p class="ql-block">在席卷全国的“一二•九”运动中，《怒吼吧，中国》曾被大量复制做成传单撒在街头，这种壮怀激烈的情绪震撼了国人。</p><p class="ql-block">此作既传递出李桦先生高度洗练的艺术语言和精湛技艺，也传递出个人境况遭遇不幸的愤懑情感和悲天悯人的家国情怀。</p><p class="ql-block">Li Hua is a famous woodcut art-ist, art educator and founder of modern Chinese printmaking.</p><p class="ql-block">Guided by Lu Xun, Li Hua embarked on the road of woodcarv. ing, then a great forerunner in China's Modern Woodcut Movement was born.</p><p class="ql-block">Roar, China is one of the representative works of Li Hua. A blindfold tied to a stake, making every effort to break free. He twists his body in the struggling and stretches his hands to pick up a dagger that dropped aside, revealing a great sense of powerless-ness. Li Hua employed extremely abstract and generalized techniques to compose a concise picture and created a kind of heroic courage that never yield in spite of the war, a roar in the hearts and souls of the Chinese people.</p><p class="ql-block">During the nationalwide "Decem-ber 9th" movement, Roar, China was mass-produced into leaflets and handed out on the streets, which greatly motivated and inspired the Chinese people. This work not only demonstrates Mr.</p><p class="ql-block">Li Hua's highly refined artistic language and exquisite skills, but also expresses his resentment of personal adversities and conveys his compassionate patriotism for the homeland.</p> <p class="ql-block">李桦</p><p class="ql-block">痛悼李、闻二公</p><p class="ql-block">1947年</p><p class="ql-block">35.3 X 24.8cm</p><p class="ql-block">套色木刻</p><p class="ql-block">1998年李桦家属捐赠</p><p class="ql-block">Li Hua</p><p class="ql-block">Mourning for Li and Wen</p><p class="ql-block">1947</p><p class="ql-block">35.3 X 24.8 cm</p><p class="ql-block">Color woodcut</p><p class="ql-block">Donated by the family of Li Hua in 1998</p> <p class="ql-block">李桦</p><p class="ql-block">在生活压追下</p><p class="ql-block">1948年</p><p class="ql-block">16.5×23cm</p><p class="ql-block">黑白木刻</p><p class="ql-block">1998年李桦家属捐赠</p><p class="ql-block">Li Hua</p><p class="ql-block">Under the Pressure of Life</p><p class="ql-block">1948</p><p class="ql-block">16.5 X 23cm</p><p class="ql-block">Black and white woodcut</p><p class="ql-block">Donated by the family of Li Hua in 1998</p> <p class="ql-block">林风呢</p><p class="ql-block">女半身像</p><p class="ql-block">19404F1€</p><p class="ql-block">37 X 41cm</p><p class="ql-block">水墨设色</p><p class="ql-block">Lin Fengmian</p><p class="ql-block">Female Half-length</p><p class="ql-block">Portrait</p><p class="ql-block">1940s</p><p class="ql-block">37 X 41cm</p><p class="ql-block">Ink and pigment on paper</p><p class="ql-block">林风眠是中国20世纪最重要的美术家和美术教育家之一。26岁担任了国立北京艺术专门学校校长，28岁创办了国立艺术学院。林风眠的早期创作多为油画，之后主要致力于中国画的创新。他尝试结合西方现代艺术革新中国艺术，并在中国自身的传统中寻找一条中国艺术的复兴之路。</p><p class="ql-block">《女半身像》应是林风眠先生在重庆时期探索新的中国画艺术的代表作品，风格鲜明，同时期作品流传极少，此幅作品对于了解林风眠的艺术探索道路极为难得。从此件作品中可以看出，在形式构成上，画家在传统画轴与卷轴之外尝试方形</p><p class="ql-block">构图，吸纳了瓷绘笔线等来自民间艺术的多元化手法，用轻快且简洁有力的线条和平涂的彩墨勾勒人物，明显吸收了中国古装戏曲元素；而四分之三侧角度的半身像以及对人体结构，特别是对眼睛的描绘，都带有西方人物画的特点。人物形象带有概括性和写意性，反映出他创作新型仕女可的探索方向。</p><p class="ql-block">Lin Fengmian was one of the most prominent Chinese artists and art educators of the 20th cen-tury. At the age of 26, he became the principal of the National Beijing School of Fine Arts, and at 28, he founded the National Academy of Art. Lin's early works predominantly featured oil painting, but he later focused on innovating Chinese painting. He sought to blend Western modern art with Chinese artistic tradi-tions, paving the way for the revival of Chinese art.</p><p class="ql-block">Female Half-length Portrait is likely a representative work of Lin's exploration of modern Chinese painting during his Chong-ging period. Distinguished by its unique style, works from this era are extremely rare, making this piece invaluable for understanding Lin's artistic journey. In this work, Lin experimented with a square composition rather than the traditional hanging scroll or handscroll formats. He incorporated diverse influences, such as porcelain painting techniques and elements of folk art, employing light, fluid, and expressive lines alongside flat washes of color and ink. The artwork reflects the aesthetics of Chinese opera costume design while also displaying Western influences in its three-quarter perspective, attention to human anatomy, and particularly the depiction of the eyes. The stylized yet expressive rendering of the figure illustrates Lin's pursuit of a modern reinterpretation of traditional Chinese depictions of women, marking a significant phase in his artistic development.</p> <p class="ql-block">李桦</p><p class="ql-block">Li Hua</p><p class="ql-block">“怒潮”之一攤扎、“Raging Tide”（0）之二抓丁、之三抗根、之四起来</p><p class="ql-block">Struggle, (Il) Press Gang, (III) Refuse Grain, (IV)</p><p class="ql-block">Rise Up</p><p class="ql-block">1947年</p><p class="ql-block">19.8 X 27cm</p><p class="ql-block">黑白木刻</p><p class="ql-block">1947</p><p class="ql-block">19.8 X 27cm</p><p class="ql-block">Black and white woodcut</p><p class="ql-block">1998年李桦家属捐赠</p><p class="ql-block">Donated by the family of Li Hua in</p><p class="ql-block">1998</p><p class="ql-block">此幅《怒潮组画之一到四》创作于1946年，是著名版画家李桦的革命题材版画代表作之一，由《挣扎》《抓丁》《抗粮》《起来》四幅组成。四幅作品各以不同故事为线索，承前启后，描述了解放战争时期国统区民不聊生，农民不堪国民觉反动派残酷压榨，奋起反抗的场景。</p><p class="ql-block">此作在人物造型、构图以及艺术风格上受到德国版画家珂勒</p><p class="ql-block">惠支（Kathe Kollwitz） 创作的题为“农民战争”的一组连环</p><p class="ql-block">铜版画影响，采用了表现主义和象征主义相结合的手法，面面中夸张有力、怒不可遏的人民群众从被压迫的低沉，到奋起反抗的怒吼，如同惊涛骇浪，预示着人民革命的怒潮终究要掀翻整个旧社会。此组作品色彩对比强烈，刀锋犀利，充满凌厉的动荡感，立意深刻同时具有极高的艺术价值，在中国新兴版画运动更和中国现代美术史上具有里程碑意义。</p><p class="ql-block">Created in 1946, the Raging Tide series by renowned printmaker Li Hua is a landmark in revolutionary printmaking and one of his representative works on the theme of revolution. The series consists of four woodblock prints-Struggle, Press Gang, Refuse Grain, and Rise Up-each following a distinct narrative that connects seamlessly to depict the suffering of people in Na-tionalist-controlled areas during the Liberation War. These works illustrate the plight of peasants oppressed by the Kuomintang regime's exploitation and their eventual uprising against the tyr-anny.</p><p class="ql-block">The series reflects Li Hua's artistic influences, notably the German printmaker Käthe Kollwitz and her Peasant War series of etch-ings, drawing on expressionism and symbolism. Through bold and exaggerated forms, the oppressed people's transformation from despair to resistance is vividly portrayed. The figures surge with anger and strength, embodying a tidal wave of revolution that promises to overturn the old order. With striking contrasts, razor-sharp lines, and a powerful sense of turbulence, the series conveys profound themes while holding significant artistic value.</p><p class="ql-block">It stands as a milestone in both the history of the Chinese New Woodcut Movement and modern</p><p class="ql-block">Chinese art.</p> <p class="ql-block">佚名</p><p class="ql-block">Anonymous</p><p class="ql-block">坐着的女人体（背向）</p><p class="ql-block">Seated Female Nude</p><p class="ql-block">(Back View)</p><p class="ql-block">1940年代</p><p class="ql-block">40 X 34cm</p><p class="ql-block">布面汕彩</p><p class="ql-block">1940s</p><p class="ql-block">40 X 34cm</p><p class="ql-block">Oil on canvas</p> <p class="ql-block">萧淑芳</p><p class="ql-block">北海溜冰</p><p class="ql-block">1935年</p><p class="ql-block">46×30cm</p><p class="ql-block">木板油彩</p><p class="ql-block">傅璿</p><p class="ql-block">中南海东岸</p><p class="ql-block">1940年</p><p class="ql-block">24.5×33cm</p><p class="ql-block">木板汕彩</p><p class="ql-block">傅璿家屆捐赠</p><p class="ql-block">Xiao Shufang</p><p class="ql-block">Skating on Beihai Lake</p><p class="ql-block">1935</p><p class="ql-block">46 X 30cm</p><p class="ql-block">Oil on wood</p><p class="ql-block">Fu Xuan</p><p class="ql-block">East Shore of Zhongnanhai</p><p class="ql-block">1940</p><p class="ql-block">24.5 X 33cm</p><p class="ql-block">Oil on wood</p><p class="ql-block">Donated by the family of Fu Xuan</p> <p class="ql-block">余本</p><p class="ql-block">滑物（水仙、水果）1940年代</p><p class="ql-block">62 X 50cm</p><p class="ql-block">布面汕彩</p><p class="ql-block">Yu Ben</p><p class="ql-block">Still Life (Narcissus and Fruit)</p><p class="ql-block">1940s</p><p class="ql-block">62 X S0cm</p><p class="ql-block">Oil on canvas</p> <p class="ql-block">戴泽</p><p class="ql-block">风景（夏日树萌）</p><p class="ql-block">1946年</p><p class="ql-block">75 X 57cm</p><p class="ql-block">布面油彩</p><p class="ql-block">Dai Ze</p><p class="ql-block">Landscape</p><p class="ql-block">(Trees in Summer)</p><p class="ql-block">1946</p><p class="ql-block">75 XS7cm</p><p class="ql-block">Oil on canvas</p> <p class="ql-block">富家珍</p><p class="ql-block">女人体</p><p class="ql-block">1939年</p><p class="ql-block">81X63.5cm</p><p class="ql-block">布面油彩</p><p class="ql-block">Fu Jiazhen</p><p class="ql-block">Female Nude</p><p class="ql-block">1939</p><p class="ql-block">81 X 63.5cm</p><p class="ql-block">Oil on canvas</p> <p class="ql-block">齐振杞</p><p class="ql-block">Qi Zhengi</p><p class="ql-block">东单小市</p><p class="ql-block">1948年</p><p class="ql-block">97.5 X 162cm</p><p class="ql-block">布面汕彩</p><p class="ql-block">Dongdan Street Market</p><p class="ql-block">1948</p><p class="ql-block">97.5 X 162cm</p><p class="ql-block">Oil on canvas</p><p class="ql-block">1948年的《东单小市》是齐振杞短暂艺术生涯中创作的经典之作，曾受到徐悲鸿的称赞。</p><p class="ql-block">出生于北京农村的齐振杞以其对劳动人民的深厚情感，细腻地捕捉了抗战胜利后北京东</p><p class="ql-block">单市场交换紧缺商品的热闹景象，精准地描绘出了冬日北京的色彩与氛围。疏密妥帖的树木，灰他的天空和棕灰色的树干，东单的小树林与市场交织，各类人物形象交汇，从国民党军官到破落地主，从白人主妇到时髦女青年，每个人物都栩栩如生，极具时代特色。可家的绘画技巧得到了充分展现，对衣着质感和人物动作的精确把握，彰显了对绘画深刻的认识和卓越的技艺。</p><p class="ql-block">《东单小市》不仅是齐振杞对劳动人民生活的全面描绘，也是他对现实主义的探索，对社会变迁的深刻洞察。徐悲鸿对其“郁勤之艺术家”的评价，对此幅“诚可称中国新绘画上一杰作”的赞许，证明了齐振杞在艺术史上的重要地位。</p><p class="ql-block">Qi Zhengi's 1948 painting, Dong-dan Market, is a masterpiece from his short artistic career and was highly praised by Xu Beihong.</p><p class="ql-block">Born in rural Beijing, Qi Zhengi had a deep affection for working people. This painting delicately captures the bustling Dongdan market after the success of the anti-Japanese war, where people exchanged scarce goods. It accurately depicts Beijing's winter colors and atmosphere. In the painting, sparse trees, grey skies, and brownish-grey tree trunks intertwine with the grove of Dongdan and the market, and a diverse cast of characters mingle, ranging from Kuomintang officers to ragged landlords, from white housewives to fashionable young women, all vividly depicted with great characteristics of the times.</p><p class="ql-block">The artist's skill is evident in his precise rendering of clothing textures and figures, demonstrating a deep reflection on painting and excellent technique.</p><p class="ql-block">Dongdan Market not only depicts the lives of working people but also Qi Zhengi's exploration of realism and social change. Xu Beihong's praise of Qi Zhengi as a "diligent artist" and the painting as a "masterpiece of new Chinese painting" solidifies his place in art history.</p> <p class="ql-block">李宗津</p><p class="ql-block">平民食堂</p><p class="ql-block">1947年</p><p class="ql-block">63 X 80cm</p><p class="ql-block">布而汕彩</p><p class="ql-block">2012年刘小东、喻红</p><p class="ql-block">扪赠</p><p class="ql-block">Li Zongjin</p><p class="ql-block">Civilian Canteen</p><p class="ql-block">1947</p><p class="ql-block">63 X 80cm</p><p class="ql-block">Oil on canvas</p><p class="ql-block">Donated by Liu Xiaodong and Yu</p><p class="ql-block">Hong in 2012</p> <p class="ql-block">宋步云</p><p class="ql-block">Song Buyun</p><p class="ql-block">团城（白皮松）</p><p class="ql-block">Circular City (White Pine)</p><p class="ql-block">1947年</p><p class="ql-block">1947</p><p class="ql-block">61.5 X 52.5cm</p><p class="ql-block">61.5 X S2.5cm</p><p class="ql-block">布面油彩</p><p class="ql-block">Oil on canvas</p> <p class="ql-block">齐振杞</p><p class="ql-block">风景</p><p class="ql-block">1940年</p><p class="ql-block">62X36.5cm</p><p class="ql-block">布面油彩</p><p class="ql-block">Qi Zhengi</p><p class="ql-block">Landscape</p><p class="ql-block">1940</p><p class="ql-block">62 X 36.5cm</p><p class="ql-block">Oil on canvas</p> <p class="ql-block">齐振杞</p><p class="ql-block">Qi Zhenqi</p><p class="ql-block">东单操场</p><p class="ql-block">Dongdan Playground</p><p class="ql-block">1948年</p><p class="ql-block">1948</p><p class="ql-block">67 X 85cm</p><p class="ql-block">67 X 85cm</p><p class="ql-block">布面油彩</p><p class="ql-block">Oil on canvas</p> <p class="ql-block">孙宗慰</p><p class="ql-block">Sun Zongwei</p><p class="ql-block">梵音</p><p class="ql-block">Sacred Sound</p><p class="ql-block">1947年</p><p class="ql-block">1947年</p><p class="ql-block">58.5 × 70.5cm</p><p class="ql-block">58.5 × 70.5cm</p><p class="ql-block">布面油彩</p><p class="ql-block">Oil on canvas</p> <p class="ql-block">孙宗慰</p><p class="ql-block">蒙藏女子歌舞</p><p class="ql-block">1942年</p><p class="ql-block">82 X 121cm</p><p class="ql-block">布面油彩</p><p class="ql-block">Sun Zongwei</p><p class="ql-block">Mongolian and Tibetan Women's Dance and</p><p class="ql-block">Song</p><p class="ql-block">1942</p><p class="ql-block">82 X 121cm</p><p class="ql-block">Oil on canvas</p> <p class="ql-block">徐悲鸿</p><p class="ql-block">男人体正侧面速写</p><p class="ql-block">1924年</p><p class="ql-block">52 X 44cm</p><p class="ql-block">纸本油彩</p><p class="ql-block">Xu Beihong</p><p class="ql-block">Male Nude - Front and</p><p class="ql-block">Side Sketch</p><p class="ql-block">1924</p><p class="ql-block">52 X 44cm</p><p class="ql-block">Oil on paper</p> <p class="ql-block">常书鸿</p><p class="ql-block">女坐裸休像</p><p class="ql-block">Chang Shuhong</p><p class="ql-block">Seated Female Nude</p><p class="ql-block">1940年</p><p class="ql-block">1940</p><p class="ql-block">140 × 92cm</p><p class="ql-block">布面汕彩</p><p class="ql-block">140 X 92cm</p><p class="ql-block">Oil on canvas</p><p class="ql-block">《女坐裸体像》采用裸女人体与</p><p class="ql-block">This painting combines the nude</p><p class="ql-block">中国式背景相结合的方式，是常书鸿40年代初期常见的油画样式。作品在1940年7月创作于国立北平艺专避难的云南昆明安江村，就地取材描绘了一位村妇和各样民间花布。在创作条件十分艰苦的情况下，常书鸿精心营造了画中人物，造型准确、构图布局合理，凸显了作者扎实的古典油画技巧；</p><p class="ql-block">在此基础上，作者强调对轮廓线的表现，在色彩中善用黑色与纯色以加强对比。背景中对织物纹路的描绘强调了作品的平面性与装饰性，画面左下的织物线条更是颇有东方审美意趣的表达。</p><p class="ql-block">female figure with a traditional Chinese-style background, exemplifying the characteristic oil painting style of Chang Shuhong in the early 1940s. Created in July 1940 in Anjiang Village of Kunming in Yunnan Province, where the National Beiping Art School had relocated for refuge, the work draws on local resources to depict a village woman adorned with various patterns of folk fabrics.</p><p class="ql-block">Despite the challenging circumstances of its creation, Chang meticulously portrayed the figure with precise modeling and a well-balanced composition, showcasing his solid foundation in classical oil painting techniques.</p><p class="ql-block">He emphasized contour lines and skillfully employed black and</p><p class="ql-block">此画体现了常书鸿对油画中民族风格的思考与实践。不同于很多留洋归国的杰出艺术家，他没有进行过水墨画的尝试，也没有刻意尝试民族化的风格，其油画中的民族性体现于对画而形式与意向的精妙把握。在彼时的美术界的讨论中，常书鸿提倡不应拘泥于洋法或国法，而应追求对时代精神的把握与艺术家个人风格的形成，从而他的作品具有独特的而貌。</p><p class="ql-block">pure colors to enhance contrast within the palette. The detailed depiction of fabric patterns in the background accentuates the painting's flatness and decorative qualities, while the textile lines in the lower left corner convey an aesthetic sensibility unique to Eastern art.</p><p class="ql-block">This work reflects Chang Shu-hong's exploration and practice of incorporating national elements into oil painting. Unlike many prominent artists returning from overseas, Chang did not experiment with ink painting or deliberately attempt to "nationalize" his style. Instead, the national character in his oil paintings lies in his sophisticated control of form and intention. During contemporary debates within the art world, Chang advocated for transcending rigid adherence to either Western or Chinese methods, urging artists to pursue the spirit of the times and develop their personal artistic style. As a result, his works possess a distinctive character.</p> <p class="ql-block">艾中信</p><p class="ql-block">蜀山隆冬</p><p class="ql-block">1946年</p><p class="ql-block">31×44cm</p><p class="ql-block">木板汕彩</p><p class="ql-block">2003年艾中信家属扣购</p><p class="ql-block">Aí Zhongxin</p><p class="ql-block">Cold Winter in the Shu</p><p class="ql-block">Mountains</p><p class="ql-block">1946</p><p class="ql-block">31 X 44cm</p><p class="ql-block">Oil on wood</p><p class="ql-block">Donated by the family of Al Zhongxin in 2003</p> <p class="ql-block">艾中信</p><p class="ql-block">斑鸠</p><p class="ql-block">19464F</p><p class="ql-block">27 × 43cm</p><p class="ql-block">木板油彩</p><p class="ql-block">2003年艾中信家属捐赠</p><p class="ql-block">Ai Zhongxin</p><p class="ql-block">Turtle Dove</p><p class="ql-block">1946</p><p class="ql-block">27 X 43cm</p><p class="ql-block">Oil on wood</p><p class="ql-block">Donated by the family of Ai Zhongxin in 2003</p> <p class="ql-block">孙宗慰</p><p class="ql-block">灌县瓜景</p><p class="ql-block">1943年</p><p class="ql-block">65 X 85.5cm</p><p class="ql-block">布面油彩</p><p class="ql-block">Sun Zongwei</p><p class="ql-block">Landscape of Guan</p><p class="ql-block">County</p><p class="ql-block">1943</p><p class="ql-block">65 X 85.5cm</p><p class="ql-block">Oil on canvas</p> <p class="ql-block">李瑞年</p><p class="ql-block">嘉陵江两岸</p><p class="ql-block">1944年</p><p class="ql-block">75×7Scm</p><p class="ql-block">布面油彩</p><p class="ql-block">2018年李瑞年家属委托</p><p class="ql-block">长期保存</p><p class="ql-block">Li Ruinian</p><p class="ql-block">Both Sides of the Jialing</p><p class="ql-block">River</p><p class="ql-block">1944</p><p class="ql-block">75 X 75cm</p><p class="ql-block">Oil on canvas</p><p class="ql-block">Entrusted for long-term preservation by the family of Li Ruinian in 2018</p> <p class="ql-block">孙宗慰</p><p class="ql-block">石家花园</p><p class="ql-block">1940年代</p><p class="ql-block">47,7 X 60.2cm</p><p class="ql-block">布面油彩</p><p class="ql-block">Sun Zongwei</p><p class="ql-block">Garden of Family Shi</p><p class="ql-block">1940s</p><p class="ql-block">47.7 X 60.2cm</p><p class="ql-block">Oil on canvas</p> <p class="ql-block">玉少陵</p><p class="ql-block">Wang Shaoling</p><p class="ql-block">秋梦</p><p class="ql-block">Autumn Dream</p><p class="ql-block">1949年</p><p class="ql-block">1949</p><p class="ql-block">102×66.5cm</p><p class="ql-block">102 X 66.5cm</p><p class="ql-block">布面油彩</p><p class="ql-block">Oil on canvas</p> <p class="ql-block">李铁根</p><p class="ql-block">女人体之一</p><p class="ql-block">约194S-1948年</p><p class="ql-block">94 X 52.5cm</p><p class="ql-block">布面油彩</p><p class="ql-block">2023年冯真捐赠</p><p class="ql-block">Li Tiegen</p><p class="ql-block">Female Nude (I)</p><p class="ql-block">Around 1945-1948</p><p class="ql-block">94 X 52.5cm</p><p class="ql-block">Oil on canvas</p><p class="ql-block">Donated by Feng Zhen in 2023</p> <p class="ql-block">王少陵</p><p class="ql-block">Wang Shaoling</p><p class="ql-block">揽镜</p><p class="ql-block">Gazing into the Mirror</p><p class="ql-block">1946年</p><p class="ql-block">1946</p><p class="ql-block">91 X 76cm</p><p class="ql-block">91 X 76cm</p><p class="ql-block">布面油彩</p><p class="ql-block">Oil on canvas</p> <p class="ql-block">常书鸿</p><p class="ql-block">静物（花、书）</p><p class="ql-block">1942年</p><p class="ql-block">79 X 64cm</p><p class="ql-block">布面油彩</p><p class="ql-block">Chang Shuhong</p><p class="ql-block">Still Life</p><p class="ql-block">(Flowers and Books)</p><p class="ql-block">1942</p><p class="ql-block">79 X 64cm</p><p class="ql-block">Oil on canvas</p> <p class="ql-block">常书鸿</p><p class="ql-block">静物</p><p class="ql-block">1942年</p><p class="ql-block">46×6lcm</p><p class="ql-block">布面油彩</p><p class="ql-block">Chang Shuhong</p><p class="ql-block">Still Life</p><p class="ql-block">1942</p><p class="ql-block">46 X 61cm</p><p class="ql-block">Oil on canvas</p> <p class="ql-block">张安治</p><p class="ql-block">群力</p><p class="ql-block">Zhang Anzhi</p><p class="ql-block">Collective Power</p><p class="ql-block">1936年</p><p class="ql-block">1936</p><p class="ql-block">129.SX222.Scm</p><p class="ql-block">129.5 X 222.5cm</p><p class="ql-block">布面汕彩</p><p class="ql-block">Oil on canvas</p><p class="ql-block">《群力》是张安治于1936年创作的油西作品，參加了教育部第二届全国展览会井获奖。作品描绘了一群工人在强烈日光下，同心协力推动矿车上坡的景象。画面中，左高右低的土坡、矿车与推车的一众工人形成强烈的力量对抗，工人们奋进全力、肌肉紧绷，面部表情坚毅，如同柱石一般撑起了可能下滑的矿车，并奋力上推，让观众感受到人民群众力量的伟大。张安治在这幅作品中展现了其对油画技法的精湛掌握。画中色彩鲜明，对比强烈，通过光影和肌理的细致刻画，传达出劳动者肌肤的质感和环境的艰苦。他的画风融合了中西艺术元素，既展现了西方油画的写实技巧，又融人了中国传统绘画的线性美。</p><p class="ql-block">《群力》创作于中国抗日战争前夕，这一时期社会动荡，民族危机深重。张安治通过这幅作品表达了对劳动人民的同情和对民族命运的深切关注。</p><p class="ql-block">在20世纪中国美术更上，张安治以其独特艺术风格和社会责任感占据重要地位。《群力》不仅体现了他的艺术成就，也映射了那个时代中国社会的真实面貌。作品以强烈的社会意识和艺术表现力，成为中国现代美术史上的经典。</p><p class="ql-block">Created in 1936, Zhang Anzhi's Collective Power is an oil painting that was exhibited in the Second National Exhibition organized by the Ministry of Education, where it won acclaim. The painting depicts a group of workers, under the intense sunlight, united in their effort to push a minecart uphill. The composition contrasts the steep slope on the left and the lower terrain on the right, with the minecart and the workers forming a dynamic force of resist-ance. The workers, with tightly clenched muscles and determined expressions, appear as pillars of strength preventing the minecart from sliding backward, conveying the awe-inspiring power of collective effort. Zhang's mastery of oil painting techniques is evident in the work. The vibrant colors and stark contrasts highlight the physical intensity and harsh environment of the scene. Through meticulous rendering of light, shadow, and texture, the painting vividly captures the tactile quality of the workers' skin and the ruggedness of their surround-ings. Zhang skillfully integrates elements of Western realism with the linear aesthetics of traditional Chinese painting, creating a distinctive artistic language.</p><p class="ql-block">Collective Power was completed on the eve of China's War of Resistance Against Japan, a time of social upheaval and national crisis. Zhang's work reflects his profound empathy for the laboring class and his concern for the nation's fate. In the context of 20th-century Chinese art history, Zhang Anzhi occupies a significant position for his unique style and sense of social responsibility.</p><p class="ql-block">This painting not only showcases his artistic achievements but also serves as a poignant mirror of the realities of Chinese society at the time. With its powerful social message and artistic expression, Collective Power has become a classic in modern Chinese art his-tory.</p> <p class="ql-block">冯法祀</p><p class="ql-block">Feng Fasi</p><p class="ql-block">提亟子</p><p class="ql-block">Chasing of Lice</p><p class="ql-block">1948年</p><p class="ql-block">1948</p><p class="ql-block">148 X 118.5cm</p><p class="ql-block">148 X 118.5cm</p><p class="ql-block">布面汕彩</p><p class="ql-block">Oil on canvas</p><p class="ql-block">冯法祀是徐悲鸿在中央大学艺术系培养的第一批学生。他在年轻时代就提出“为人生而艺术”的主张，他于20世纪40年代的艺术创作体现了他在激荡的抗战年代所践行的艺术信念。</p><p class="ql-block">1944年冬，受抗改演剧五队的邀请，冯法祀赴云南保山随队赴中缅前线。冯法祀在前线战壕纪实性地完成了《提虱子》的速写稿，并随后在1945年于云南潞南中学、1948年于北平艺专校内分别创作了不同版本的油画《捉虱子》。本次展出的是冯法祀在北平艺专创作的版本。</p><p class="ql-block">《捉虱子》是冯法祀初探现实主义油画创作的代表作之一，也是中国抗战美术史上的一件力作。这件作品笔触稳健、不拘细节、纪实瞬间。西面中，赤裸上身站立的抗目战士，正在裤腰里捕捉着虱子，坑道近处披着外衣的老兵也正在一位消瘦的年轻战士的头上寻找着武子。冯法祀以其独特的视角真实展现了前线士兵在战斗间隙的艰苦境况，赞颂了抗日战士不畏艰苦的抗争精神。</p><p class="ql-block">Feng Fasi, a pioneering student of Xu Beihong at the Art Department of National Central Uni-versity, championed "art for the sake of life" at a young age. His artworks of the 1940s embody this belief during the tumultuous years of the War of Resistance against Japanese Aggression.</p><p class="ql-block">In the winter of 1944, at the invitation of the Fifth Anti-Japanese Drama Team, Feng Fasi went to Baoshan, Yunnan Province, and then with the team to the Chi-na-Burma front. He sketched Catching Lice in the trenches as a documentation, and later produced different versions in oil at Lunan Middle School in Yunnan in 1945 and at Beiping Art College in 1948. The one showcased in this exhibition is the painting version created at the Beiping Art College.</p><p class="ql-block">Catching Lice is one of Feng's representative works of realist oil painting and a masterpiece in the history of Chinese Anti-War Art.</p><p class="ql-block">The work documents the moment through meticulous brushstrokes and unrestrained detail. In the painting, an anti-Japanese soldier, stripped to the waist, is searching for lice in his trousers, while a tunic-clad veteran near the pit is also searching for lice on the head of a skinny young soldier. Feng Fasi reveals the harsh conditions of frontline soldiers between battles and celebrates their unwavering resistance spirit in the face of hardships.</p> <p class="ql-block">李宗津</p><p class="ql-block">自画像</p><p class="ql-block">1940年代</p><p class="ql-block">52X45cm</p><p class="ql-block">布面油彩</p><p class="ql-block">2024年李宗津家属捐赠</p><p class="ql-block">Li Zongjin</p><p class="ql-block">Self-portrait</p><p class="ql-block">1940s</p><p class="ql-block">52 X 45cm</p><p class="ql-block">Oil on canvas</p><p class="ql-block">Donated by the family of Li Zongjin in 2024</p> <p class="ql-block">孙宗慰</p><p class="ql-block">Sun Zongwei</p><p class="ql-block">自画像</p><p class="ql-block">Self-portrait</p><p class="ql-block">1940年代</p><p class="ql-block">1940s</p><p class="ql-block">直径4Scm</p><p class="ql-block">Diameter: 45cm</p><p class="ql-block">木板油彩</p><p class="ql-block">Oil on wood</p><p class="ql-block">1985年孙宗慰家属捐赠</p><p class="ql-block">Donated by the family of Sun Zong-wei in 1985</p> <p class="ql-block">齐振杞</p><p class="ql-block">Qi Zhenqi</p><p class="ql-block">双人肖像</p><p class="ql-block">Couple Portrait</p><p class="ql-block">1944年</p><p class="ql-block">1944</p><p class="ql-block">80.5 X 65cm</p><p class="ql-block">80.5 X 65cm</p><p class="ql-block">布面油彩</p><p class="ql-block">Oil on canvas</p> <p class="ql-block">秦宣夫</p><p class="ql-block">王合内像</p><p class="ql-block">1939年</p><p class="ql-block">53 X 43cm</p><p class="ql-block">布面油彩</p><p class="ql-block">2006年由王临乙、王合内的学生代两位先生捐赠</p><p class="ql-block">Qin Xuanfu</p><p class="ql-block">Portrait of Renée</p><p class="ql-block">Yunne-Nikel</p><p class="ql-block">1939</p><p class="ql-block">53 X 43cm</p><p class="ql-block">Oit on canvas</p><p class="ql-block">Donated by the students of Wang Linyi and Renée Yunne-Nikel on behalf of the two teachers in 2006</p> <p class="ql-block">玉临乙</p><p class="ql-block">风景</p><p class="ql-block">1928年</p><p class="ql-block">35 X 50.5cm</p><p class="ql-block">布面油彩</p><p class="ql-block">2006年由王临乙、王合内的学生代两位先生捐赠</p><p class="ql-block">Wang Linyi</p><p class="ql-block">Landscape</p><p class="ql-block">1928</p><p class="ql-block">35 X 50.5cm</p><p class="ql-block">Oil on canvas</p><p class="ql-block">Donated by the students of Wang Linyi and Renée Yunne-Nikel on behalf of the two teachers in 2006</p> <p class="ql-block">玉临乙</p><p class="ql-block">风景</p><p class="ql-block">1928年</p><p class="ql-block">28 X 35.5cm</p><p class="ql-block">布面油彩</p><p class="ql-block">2006年由王临乙、王合内的学生代两位先生捐赠</p><p class="ql-block">Wang Linyi</p><p class="ql-block">Landscape</p><p class="ql-block">1928</p><p class="ql-block">28 X 35.5cm</p><p class="ql-block">Oil on canvas</p><p class="ql-block">Donated by the students of Wang Linyi and Renée Yu nne-Nikel on behalf of the two teachers in 2006</p> <p class="ql-block">李叔同</p><p class="ql-block">Li Shutong</p><p class="ql-block">半裸女像</p><p class="ql-block">Nude Figure</p><p class="ql-block">约1909年</p><p class="ql-block">Around 1909</p><p class="ql-block">90.5 X 116cm</p><p class="ql-block">90.5 X 116cm</p><p class="ql-block">布面油彩</p><p class="ql-block">Oil on canvas</p><p class="ql-block">1952年叶圣陶代夏丐尊家属捐赠</p><p class="ql-block">Donated by Ye Shengtao on behalf of the family of Xía Mianzun in 1959</p><p class="ql-block">李叔同是中国最早赴日留学学习美术的学生，是中国现代美术先驱，开创了中国现代美术史的新的篇章。此幅作品是他在日本留学期间创作的油画代表作品。画作中，一位正值妙龄的东方女子半裸上身，斜靠在椅背上。她双目微闭，右手执扇，左手垂在椅侧，一头乌黑的长发散落在松软的靠垫上，似已进入睡梦之中。画面右侧的木台上立着一个黑色的花瓶，放置了一朵盛开的白花。整幅画色彩鲜亮、恬静优美。《半裸女像》在库房中长期以来一直被归为侠名西方油画作品，直到2011年库房整理藏品时，经过一系列的论证研究和科学检测、修复等工作，才证实了这件《半裸女像》就是1920年发表在《美育》杂志上的李叔同的油画《女》，这件在库房里尘封已久的杰作才终于重见天日。</p><p class="ql-block">Li Shutong was one of China's earliest students to study fine arts in Japan, a pioneer of modern Chinese art who opened a new chapter in the history of Chinese modern art. This work is one of his representative oil paintings created during his study in Japan.</p><p class="ql-block">This painting depicts ahalf-naked upper body of a Eastern woman, in the prime of her life, reclining against a chair. Her eyes are seemingly closed, her right hand holds a fan, and her left arm casually rests on the chair's side. Her raven hair flows freely over the soft cushions as if she's in peaceful slumber. A black vase stands on the wooden table on the right side of the picture, adorned with a blooming white flower. The overall image is of vibrant colors and serene beauty.</p><p class="ql-block">A Half-naked Woman has long been categorized as an anonymous Western oil painting in CA-FAM's storage. Yet, in 2011, when the museum was making an inventory of its collections, through a series of rigorous examinations, scientific testing, and restoration efforts, Li Shutong was revealed to be the true creator, and the painting was exactly the one published by Meiyu in 1920, titled Woman in the magazine. This masterpiece, concealed within the museum's storage for nearly half a century, had finally emerged into public recognition.</p> <p class="ql-block">吴作人</p><p class="ql-block">开会</p><p class="ql-block">1933年</p><p class="ql-block">110X 140cm</p><p class="ql-block">布面油彩</p><p class="ql-block">Wu Zuoren</p><p class="ql-block">Meeting</p><p class="ql-block">1933</p><p class="ql-block">110 X 140cm</p><p class="ql-block">Oil on canvas</p> <p class="ql-block">吴作人</p><p class="ql-block">Wu Zuoren</p><p class="ql-block">纤夫</p><p class="ql-block">Boat Trackers</p><p class="ql-block">1935年</p><p class="ql-block">1935</p><p class="ql-block">150 X 100cm</p><p class="ql-block">150 X 100cm</p><p class="ql-block">布面油彩</p><p class="ql-block">Oil on canvas</p> <p class="ql-block">李毅士</p><p class="ql-block">王梦白像</p><p class="ql-block">Portrait of Wang Mengbai</p><p class="ql-block">1920年</p><p class="ql-block">1920</p><p class="ql-block">117×76cm</p><p class="ql-block">117 X 76cm</p><p class="ql-block">布面油彩</p><p class="ql-block">Oil on canvas</p><p class="ql-block">Li Yishi</p>