时间——百花迎春文献级别的大师展

保利艺术研究院主办，时间博物馆、北京维基国际艺术品修复中心、云杪文化协办的“时间——百花迎春”于1月7日开幕，此展是2023年时间博物馆首个文献级别的大师展。展览集结吴冠中、黄永玉、祝大年的70年代初创作，以“长江万里”和“百花迎春”两个主题来呈现。

1970年5月，中央工艺美术学院等院校师生前往获鹿县，其中包括吴冠中、祝大年等人。当他们步入广袤田野后，艺术家的敏锐目光促使他们在看似平淡土地上寻觅到富有勃勃生机的创作资源。

1972年底，河北石家庄李村的袁运甫接到调令回京参加新北京饭店壁画设计。随后，袁运甫完成《长江万里》壁画初稿并获得中央领导审批。他为了进一步充实画面内容和细节刻画，当时向主管部门提出增加人手深入生活的需求。于是，他邀请同在李村的吴冠中及正在新北京饭店工作中的黄永玉加入这一创作小组。在1973年秋四位先生从上海启程溯江而上围绕长江沿线进行了三个月写生活动至1974年的初夏止步重庆。

过尽千帆皆不是，斜晖脉脉水悠悠。今天，当我们追溯这段写生之行时，这些作品虽未完成，但遗存下来的其他作品无声地记录着这段再寻常不过写生之行对于新中国美术现代转型过程的重大意义。而其中出自吴冠中的油画《花卉》，祝大年的油画《花团锦簇》以及黄永玉油画《繁花似锦》的三幅作品成为极其重要历史样本。这三幅作品沉淀的是乡村生活点滴记忆与长江写生的宏阔体验，同时还有打破当时既定主流风格探索。

本次展览将吴冠中、黄永玉两位艺术家的同题材同时期作品并置一个场域，是非常难得的一次主题特别展览？小编邀请几位嘉宾聊聊促成此场特展的情景？

顾问邰武旗表示：起初是一同委托方找到我对这些作品进行修复（吴冠中的油画《花卉》、《繁花似锦》、《花团锦簇》），这三件基本坏了，然后又送我一起修复，现在又拿出来一起展示，是非常有意义的事。这三件作品都是73年的，还往回追溯它们就是很明确了。

另外，这些材料都一样，在那个物资匮乏年代要找齐还是挺难，这们不管是用的内框还是材料都一样。

从修复角度来说分两方面：一方面是人文保护，一方面是物质保护，这其实是历史和线索保护，所以这是非常突出的体现了“保护”的理念，有很大的意义。

中国美术馆研究院学者邓锋表示：这场展示除了作品外，还有大量文字背景介绍和分析，每个评价也是几位艺术家相互之间的一个评价，有意思。此外现场还有学生家属朋友解读这些作品，从不同的角度欣赏，也有一些文献资料图书，我觉得这种形式起到了一个很好的美育作用。

另外，看展也要来现场感受，不同于阅读文章或图片描述。

祝大年の子祝重寿表示：那时候，他们经常一起在北海公园绘制荷叶，只是在不同角度观察而已。这次把几位先生的工作放在一起，那真是太有意义啦！

Wu Gancang's oil painting "Flowers" is particularly rare, with Juju flowers, small baby chrysanthemums, and lotus flowers as one piece. With a simple gray tone as the background, the main body is rich in red flowers and green leaves. The brushwork is bold and expressive, with a sense of vitality and depth in the entire painting. Below are delicate white stars like baby chrysanthemums that seem to lack some power when alone but become a sea of baby chrysanthemums when gathered together on one side of the juju flowers. Behind them are tall and slender arrowhead lotuses hanging down from the canvas, adding more layers to the picture.

If Wu Gancang's paintings have a touch of wild romance, Huang Yongyu's "Flower Garden" has another kind of ancient charm. On top of oil paint lies Chinese ink lines that do not exaggerate or decorate too much. The structure is orderly; coloration blends with drawing techniques combined with poetic colors showing Huang Yongyu's careful observation and fine expression.

Compared to these two works, Zhang Daqian's "Blossom Cluster" emphasizes artistic form beauty more than others. Birds perched on bamboo stalks in his paintings are straight lines while red flower clusters are round shapes amidst lush green leaves where roundness meets squareness for contrast and mutual enhancement without being too ornate or artificial using iron-wire strokes for modeling figures combined with flat surface decoration by colored oils reaching an aesthetic principle seeking both depth and flatness simultaneously within intricate design encapsulating subtle national aesthetics revealing true emotions yet remaining unobtrusive.

The flower creations by these three masters show their profound understanding gained from deep life experiences leading to their artistic creativity bursting forth from such experiences rather than simply copying appearances or capturing fleeting moments underbrushed strokes or sitting idly at studios playing tricks upon art skills but instead extracting treasures hidden within life itself thus carrying not only praise for these Chinese art giants' lives but also containing strong revolutionary power transforming stagnant artistic creation norms through linguistic transformation within their artwork language itself.

Exhibition Details:

Opening Time: January 7th 2023

Duration: January 7th 2023 - February 15th 2023 (closed January 20-29)

Time: Daily from November to April (11am -16pm), May to October (9am -17pm)

Location: No.298 East Big Street Drum Tower District Beijing City China Museum Hall