1. Yan Qingcheng believes that Yan Wenliang began his artistic career in 1904, when he was only 11 years old, and began to learn to paint, so it seems that he could not be recognized as a painter; and Shang Hui's division is from 1912 onwards, although he was also only 19 years old, but had already begun to develop earthen oil paintings, and was purchased for 8 yuan. Although he was also only 19 years old, he had already begun to develop earthen oil paintings, and created his own "Moon Stringing at Stone Lake," which was purchased for eight dollars. From the point of view of the painter's creation and sale, as well as the initial establishment of the painter's style and subject matter, it would be appropriate to start Yan Wenliang's first period from 1912 onwards.
2. Yan Wenliang's 1936-1949 period was not intentionally ignored, but mainly due to the fact that it was also an eventful period in Chinese history. Firstly, the flames of the War of Resistance made people busy hiding, and the Suzhou American College was occupied by the Japanese, so Yan Wenliang lived in Shanghai at a snail's pace; after the Restoration of the Republic of China, Yan Wenliang was busy with restoring the school; and then the civil war was rekindled, so he could not be stabilized. On the other hand, during this period, due to the continuous war, on the one hand, there was a lack of oil painting materials, and on the other hand, the paintings were mostly used for charity sales or fund-raising, and many of them were dispersed, which resulted in the fact that Yan Wenliang's works at this stage are extremely rare, and could not provide first-hand information for the research.
3. From Yan Wenliang's experience, his study in France made him influenced by Impressionism, although his expression was limited by the times, but from the fact that his personal works "creation" is not as high as "practice", his experience and personality determined his interest in Impressionism. His experience and personality determined that he was instinctively resistant to the "practice-creation" model. If Yan Wenliang's achievement in painting is to be questioned, it should be whether his light-colored landscapes can have their own unique styles compared with the works of the Impressionists, rather than questioning his ability to "create".
4. Compared to Xu Beihong's establishment of a system for teaching Chinese art to later generations, Yan Wenliang was relatively weak. Xu Beihong 1928, the National University of Beiping School of Fine Arts, after several setbacks, 1946, began to serve as the Beiping Art College President, efforts throughout the promotion of its educational ideas, and 1949, after the creation of the Central Academy of Fine Arts, its system of methods with the help of the center of the power of the rapid promotion. Liu Haisu was the earliest of several people to run the school, and the Shanghai Fine Arts College was opened in 1912; Liu faded out of the management of the school after traveling around Europe in 1930, and later in the running and management of the East China Fine Arts College and the Nanjing Academy of Fine Arts, Liu was only a titular figure. Lin Fengmian's real time to run the school from 1925 to 1947, but after all, he put forward "the introduction of Western art, finishing Chinese art, reconciling Chinese and Western art, creating the art of the times," such a summary of the vision of the purpose of running the school, this kind of boldness and vision in the face of the Yan above, not to mention Xu, Liu and the other two in the running of the school's ambition and ambition than Yan a few chips. Not to mention the fact that Xu and Liu surpassed Yan in terms of ambition and vigor. But in terms of the history of the school and the continuity of the school, Yan is unrivaled among the four.
5. "He never ran after others; all his strengths and weaknesses were his own. In contrast to those painter-educators of the same period who were longer on rational judgment and action, Yan Wenliang undoubtedly possessed more emotional sincerity and sensitivity of feeling." [ 1 0 ] "His whole strengths and defects were his own." Taking this statement as a comprehensive evaluation of Mr. Yan Wenliang, it can be said to be right on the mark. The so-called defects, as I understand it, are precisely due to Yan Wenliang's lack of grasp of the larger cultural pattern, his inability to extend the influence of fine arts beyond the fine arts, and his difficulty in leaving strong personal traces in both painting and education; however, he did not leave behind the slander of later generations because of his arrogance and imposition, which has also become his strengths. As an influential painter and educator in China's modern history, Yan Wenliang has influenced the future generations in his own way, which is perhaps more aptly described by the ancient saying - Peach and Plum do not speak, the next from the groove.
References:
[1]Huang Jueji. Yan Wenliang painting collection - preface - the painter's life and art[M]// Yan Wenliang. Shanghai:Shanghai People's Fine Arts Publishing House,1985.
[ 2 ] Jin Ye. Yan Laofu Zi, cited in:Shang Hui. Studies on Yan Wenliang [ M ] . Nanjing: Jiangsu Fine Arts Press, 1993.
[3 ] Yan Wenliang. Yan Wenliang on painting techniques [M]. Lin Wenxia, edited by Lin Wenxia. Shanghai: Xue Lin Mei Publishing House, 1982:125.
[4] Ni Da Gong. Yan Wenliang's artistic career [J]. Art History Theory.1987.2,cited in. Shang Hui. Research on Yan Wenliang [M]. Nanjing:Jiangsu Art Publishing House,1993:258. Design[5] Qian Bocheng. Design [5] Qian Bocheng. Yan Wenliang [M]. Shanghai: Xue Lin Publishing House,1982:186.
[ 6 ] Yan Qing Cheng. Yan Wenliang and his art, cited in Shang Hui. Yen Wenliang, his art, cited in Shang Hui. Nanjing:Jiangsu Art Publishing House, 1993:262.[7] Zhou Zhaokan. Practitioners of Localization of Chinese Oil Painting [G]// Canglang Duoying--Suzhou Academy of Fine Arts Eighty-sixth Anniversary Album, Beijing: China Modern Art Press, 2009:49.
[8]Yan Wenliang. Painting [M]. Beijing: Xue Lin Publishing House, 1982.[9] Liu Chun. History of Chinese Oil Painting [M]. Beijing:China Youth Press,2006:109.
[ 1 0 ] Wang Chen. Preaching, Teaching, and Solving Problems: Commemorating the 86th Anniversary of the Establishment of Yan Wenliang and Suzhou Academy of Fine Arts
[G]// Cang Lang Collects the Ying--Suzhou Academy of Fine Arts Eighty-sixth Anniversary Memorial Album,Beijing:China Modern Art Press,2009:46.< /p>
< Suzhou beauty college animation and early Chinese animation education, Zhou Jianfeng He Fei, design art (Shandong Academy of Arts and Crafts Journal), 2014 01
1, suzhou beauty college animation section, although only two sessions, it is in the faculty of the big adjustment and Beijing Film School, and in 1953, stopped enrollment, a few years before they can be resumed, but it is this group of students to become the Chinese animation industry, the Chinese animation industry, the Chinese animation industry, the Chinese animation industry. But it was this group of students who became the important talents of China's animation industry. After the abolition of Suzhou Academy of Fine Arts, Yan Wenliang was transferred to the vice president of Zhejiang Academy of Fine Arts in his later years. During this period, he still cared about the development of the animation department of Suzhou Academy of Fine Arts. Qian Jiajun has not interrupted his research and teaching since he joined the Shanghai Film Academy, which was established in 1959, Qian Jiajun took the whip again and continued to cultivate fresh blood for China's animation industry.
2. The success of the ink animation research and development is a classic film of Shanghai Film Studio that highlights the Chinese school of thought. The transformation of Chinese ink and wash's marvelous mood into a screen effect can be called the next generation. The success of ink animation is a symbol of collective wisdom, of which the three most crucial are Qian Jiajun, Duan Xiaoxuan and Xu Jingda
3. Yan Dingxian and Lin Wenxiao, who took part in the production of the film, remembered "vividly" the work at that time Why is it that in the "Proud Generals" the opulent general's house, with its floral patterns, screens, and pillars, window frames, etc., is so thick and heavy? The reason why the background in "Proud General" is so thick and heavy is that Mr. Qian came up with a way of painting the background, using the traditional Chinese ink coloring. That is, after sketching a good outline, the first ink priming, just like sketching a kind of columns are rounded on both sides of the deeper lined with a sense of three-dimensionality to the top of the hanging beams is a little deeper in color light ink priming the secret it has a sense of thickness in the floor tiles in the ink priming, and then paved with the advertisement on the surface of the color. In this way, the scene is magnificent and is very Chinese characteristics.
4. In the 20th century, there were more than 30 students from Suzhou Academy of Fine Arts in the art team of Shanghai Film Studio. In addition to those who had worked directly in the studio before the departmental adjustments in 2007, there were also students from the former Academy of Fine Arts graduated from the Beijing Film School and the East China College of Fine Arts, as well as the former teachers of the Animation Department and the Production Room of the Academy of Fine Arts, such as Qian Jiaxie, Fan Jingxiang, Lu Jingtang, and those who had really studied in the Animation Department of Suzhou Academy of Fine Arts were Pu Jiaxiang, Hu Jinqing, Dai Tielang, and Hu Zhenqing, and the former teachers of the Animation Department of Suzhou Academy of Fine Arts were Pu Jiaxiang, Hu Zhenqing, Dai Tielang. In the animation department of Suzhou Art College, there were Pu Jiaxiang, Hu Jinqing, Dai Tielang, Xu Jingda, Fang Pengnian, and so on.
* "On the connotation and inheritance of the practical art education ideas of the Suzhou Academy of Fine Arts" Wang Jianliang, Journal of the Nanjing Arts Institute (Art and Design Edition), 2009, 06, p141-144.
1. In July 1922, Mr. Yan Wenliang, oil painter, and Mr. Hu Zuizhong, Zhu Shijie, and so on, in the city of Suzhou, Haihongfang, Suzhou, Suzhou, the Summer School of Fine Arts, dedicated to the cultivation of artistic talent, which was later renowned as the best art school in the world, and was one of the most popular art schools in China. This was the predecessor of Suzhou Art School, which later became famous in the Chinese art world. In September of the same year, Suzhou Art School was established. Later, after many efforts, the school was finally located in Canglang Pavilion in 1927, so Suzhou Fine Arts School was also commonly known as "Canglang Fine Arts School". 1932, the national painter and wealthy merchant Wu Zishen donated funds to build a Romanesque teaching building. In October of the same year, the Ministry of Education approved the Suzhou Fine Arts College to the case of colleges and universities, officially named Suzhou Fine Arts College.
2, 1937, after October, Suzhou fell under the hooves of the Japanese invaders, Suzhou Academy of Fine Arts uprooted until 1945, after the surrender of Japan, by Shanghai, Wuxi and other places to return to the Canglang Pavilion restoration of the school building. By 1947, the school had developed to a scale of more than 2,400 students and 42 teaching staff, becoming a distinctive and influential art school. 1952 national higher education faculty restructuring, suzhou art college merged with shanghai art college and art department of shandong university to become the east china art college, the first location of wuxi sheqiao, moved to nanjing dingjiaqiao in 1958, and renamed nanjing art college in the same year, which is today's art college, the school was founded in 1948, which is now known as nanjing art college. This is the predecessor of today's "Nanjing Arts Institute".
3. Yan Wenliang, who loved art, invited Jin Songcen, Pan Zhenxiao and six others to launch the "Suzhou Fine Arts Painting Competition", which collected dozens of paintings and calligraphy masterpieces from all over the country, including Wu Changshuo, Qi Baishi, Yu Youren, Zhang Taiyan, Zhang Daqian, and Zhu Qizhan, etc. The competition was called "the most important event in the history of modern Chinese art", and it is said to be one of the most important events in China's modern art history. "China's modern art history of the earlier national art exhibition and fair" [ 1 ] 3 4 0, the exhibition scale is magnificent, the painting world giants gathered, the weight is extremely design heavy, far-reaching impact.
4, and the founding of the school, the first must establish the purpose of the school and the goal of training. In this regard, Yan Wenliang as a representative of the founders of the United States Institute of Technology has a unique insight and clear thinking. Mr. Yan Wenliang once taught the students of art college: "Art should help people understand society, understand nature, so as to promote social progress." [ 2 ]
5, Mr. Yan Wenliang also many times in lectures and articles to explain his ideas of practical art education in the service of society, published in the Suzhou Academy of Fine Arts "Art Wave" magazine "25th anniversary of the dedication" and "from the production of education to the practical art of the necessity of the" and other speeches and articles, have repeatedly from different angles to emphasize the role of practical art education for the promotion of production and social progress. For example, in his article to the students of the Practical Art Department, he used the phrase "production education", which shows that the idea of practical education had been y rooted in his mind: "Therefore, in today's context of 'production education', the fine arts and industry are mutually beneficial to each other," he said. Therefore, in today's context of 'production education', the mutual cooperation between fine arts and industry is not a merit. Otherwise, those engaged in industry, only know not to stop production; national preferences and whether not to ask also; social needs and whether not to ask also; day and night manufacturing, all into waste. He engaged in the fine arts, only know depicting nature, singing in the forest spring, refused to share part of its labor for the crafts service, and until the graduation period is approaching, terrified to do all to teach the idea of the way out, congested a way, the surplus of talent, is a loss of both the benefits of the study also." [ 4 ] It is in the comparison and management of Mr. Yan Wenliang's work with that of pure art (painting) that he highlights the necessity and urgency of practical art, especially arts and crafts education.
6. For one thing, in 1924, when the Suzhou Academy of Fine Arts was founded, the academic system was changed to four years, with four sections: Chinese painting, Western painting, art education and practical art. In 1933, during the process of restructuring the specialties of the Suzhou Academy of Fine Arts, it was emphasized again that "education should be linked to production, and a practical art section was added" [ 1 ] 3 4 5
7. 7, suzhou beauty college left the teaching equipment, teaching aids, books and other items, many of which are the founders of the beauty college Yan Wenliang, Wu Zishen and others painstakingly, carefully purchased, after a lot of trouble, and ultimately flowed to the 1 9 58 years after the founding of the suzhou arts and crafts college, which is also from one aspect of the suzhou arts and crafts colleges and universities of canglang beauty college of a kind of inheritance of the mantle of schooling.
8, 1958 Suzhou Arts and Crafts College was founded. Adapted to the social demand for arts and crafts personnel. The humble conditions at the beginning of the establishment of the school, that clearly put forward the "local conditions, from scratch, from scratch, and actively serve the production" purpose of running the school. From a just found drafted and released in July 1958, "Suzhou Arts and Crafts College Admissions", we can see the school running the beginning of the establishment of the guiding ideology and professional concept, such as in the enrollment of the "purpose" as expressed: "In order to adapt to the development of arts and crafts in the Suzhou region and the growing needs of the people's cultural life In order to adapt to the development of arts and crafts in the Suzhou area and the needs of the people's cultural life growth, the implementation of hard work and thrift in running the school, combining theory and practice, combining learning and production, fast and economical training and red and specialized arts and crafts talents to adapt to the development of arts and crafts in the Suzhou area." [ 6 ] It can be seen, "closely combined with the actual production, and actively serve the production", is the core of the school philosophy of Suzhou Arts and Crafts College. This core, it is the Canglangting Suzhou Fine Arts College "to serve the community of practical art education ideas" in the natural continuation of the socialist construction period.
9, professional settings, the school opened a craft painting, commercial art, embroidery, ware design, sculpture, toys, six specialties, all associated with the developed arts and crafts industry in Suzhou, enterprises. At the same time, the industry's production environment, production process, as well as experienced masters, old artists and become an important resource for the school arts and crafts education.
10, 1 9 5 9 drafted the document "a year of school work in the experience of a few points", summed up the Suzhou Arts and Crafts College since the establishment of a year of lessons learned, put forward in the establishment of the teaching order in the process of the actual principles of arts and crafts education, that is, the special rules of art teaching and highlighting the characteristics of the various disciplines, tailored to the needs of the students, combined with the production of the actual bold reform of the curriculum and other issues.
11, 1960 "on the preparation of the syllabus, teaching materials and semester teaching plan of the views", put forward the "teaching further with the production of labor, art practice and scientific research," the principle of the preparation of the syllabus, teaching materials and semester teaching plan. Suzhou Arts and Crafts College in just over three years, found a suitable local reality and their own situation of the school's ideas, formed with Suzhou characteristics to adapt to the development of local arts and crafts needs of the professional and curriculum system.
12, 1964, the school stopped enrollment for more than two years resumed operation, re-opened the school named "Suzhou Arts and Crafts Vocational School", set up mahogany carving, jade carving, pattern modeling, practical decoration of the four specialties, four years, directly for the industry, enterprises to cultivate art and design talent.
13. In May, 1987, Suzhou Arts and Crafts School moved to a garden campus at the southern foot of Huqiu Mountain. The school was equipped with special drawing classrooms, practice workshops, exhibition halls, electrified ladder classrooms, etc. The school actively "explored new characteristics of arts and crafts education, the vitality of the school's survival, and explored new ways to new goals and high levels of development". In the following 10 years, the school idea, teaching quality, talent training mode and other connotations have become richer, and the school's overall career has developed by leaps and bounds. The school still insists on the idea of practical art education that serves the society.
References:
[1] Chen Zhihua. Yan Wenliang and Suzhou Fine Arts College[M]// Chen Zhihua Art Essays.1 ed. Suzhou:Suzhou University Press,1999.
[2]Yan Wenliang[M]. Shanghai:Xue Lin Publishing House.1982:12.[3]Canglang Mei[J]// Shang Hui. Yan Wenliang research.1 edition. Nanjing:Jiangsu Fine Arts Press,1993:41.
[ 4 ] Yan Wenliang. From the production education to the necessity of practical art--To the students of the practical art department of our school[J]. Art Wave, (9/10).
[5] Yan Wenliang. The future trend of art education[J]. Artwave, 2(3/4).
[ 6 ] Wang Jianliang. An enrollment prospectus of Suzhou Arts and Crafts College fifty years ago [ N ]. Suzhou Daily,2008.
[ 7 ] Su Yan, Gu Bin. Let the ancient crafts revitalize--Suzhou Institute of Arts and Crafts inherits and develops traditional folk crafts [N]. Guangming Daily, 2007.
*Yan Wenliang and Suzhou Academy of Arts and Crafts, Journal of Suzhou University (Engineering Edition), Lu Yucheng, Liu Dan, 2004, 06, p85-85,
1\Yan Wenliang was born on July 20, 1893, in Ganzhongfang, Suzhou. His father, Yen Chunsheng, was a disciple of Ren Bannian, and was a painter of flowers and birds, and he was friends with Wu Changshuo, Lu Lianfu, and Gu Xijin. His life story is summarized in Wang Desen's Biography of the Life of a Half-Deaf Jushi. Mr. Yan Wenliang attended private school at the age of six, and in 1904 he joined the Chengzheng Academy to study new courses in arithmetic, history and geography. Mr. Yan Wenliang loved to paint and draw from a young age, and was fond of using objects as objects of depiction. Mr. Yen loved to draw and paint with brushes, and he liked to use physical objects as his objects of depiction, such as trains and ships. He drew trains, ships, etc. with a brush, which was a perfect likeness of a train. This year, under the guidance of his father? He began to copy the "Mustard Seed Garden Drawings". He began to study Chinese painting. At the age of 14, he was admitted to Chang Yuan Wu Public Higher Elementary School. During the study period, he was ranked first in drawing and painting. During his studies, he was ranked among the best in painting and drawing. During his studies, he ranked first in drawing and painting and showed his artistic talent. In 1909, at the age of 16, Yan Wenliang was admitted to the Commercial Press in Shanghai as an apprentice. He learned the techniques of engraving, plate making and printing. At this time, he was instructed by the Japanese painter Matsuoka Masazumi, and began to learn watercolor painting. He began to learn watercolor painting. In 1912, he resigned from the Commercial Press. In 1912, he resigned from the Commercial Press and returned to Suzhou to concentrate on painting. In 1912, he resigned from the Commercial Press and returned to Suzhou to concentrate on painting.
2. In 1913, Mr. Yan became a teacher at Guixiang Elementary School, and by 1919, he was already teaching at five secondary schools in Suzhou. Mr. Yan was one of the founders of the Suzhou Academy of Fine Arts. Mr. Yan was one of the founders of the Suzhou Academy of Fine Arts. Mr. Yan was one of the founders of Suzhou Academy of Fine Arts. Mr. Yan was one of the founders of Suzhou Academy of Fine Arts. Mr. Yan was one of the founders of Suzhou Academy of Fine Arts. In July, 1922? Mr. Yan, Mr. Hu Zuizhong, Mr. Zhu Shijie, Mr. Gu Zhonghua and Mr. Cheng Shaochuan founded the Suzhou Summer School of Fine Arts in the Haihongfang Suzhou Lawyers' Association, which was the beginning of Mr. Yan's schooling. Later, he borrowed the remaining nine rooms of Suzhou County High School as the school site. Mr. Yen's school volunteers for several years was finally realized. Suzhou people because the organizers are Mr. Yan, Hu Zuizhong, Zhu Shijie three? On the "eye Wuzhu"? Mr. Yan Hu Zhu, jokingly referred to as the nascent school. In September of that year, the Suzhou Art School was established. In September of this year, the Suzhou Art School was established. The first enrollment of 13 people, graduated in two years. In 1923, Suzhou Art School was founded. And borrowed three rooms in the Henan Guild of Sanxian Temple, and established the West School. The western school was established, which was originally attached to the county high school. The original school building attached to the county high school was called the East School, and the second semester enrollment was changed to four-year graduation. The second enrollment was changed to four-year graduation, and more than ten students were enrolled. In the second semester of enrollment, the school graduated in four years, and more than ten students were enrolled. This was the first co-educational school in Suzhou. In 1924, the third enrollment of the art school, 40 people were admitted. 40 students were enrolled, including more than 10 girls. In 1924, the third enrollment in the art school, 40 people were admitted, of which more than 10 were girls.
3. In 1927, Mr. Yan was hired by the Suzhou Public Welfare Bureau as the custodian of the Canglang Pavilion. Mr. Yen was appointed as the custodian of the Canglang Pavilion by the Suzhou Public Welfare Bureau. The school was also moved from the county high school attached to the Canglang Pavilion, and was formally settled. The official settlement.
4. In 1928, President Yan traveled abroad at his own expense to study art education. The school was represented by Hu Zuizhong. During his stay in Europe, he traveled to France, Belgium and Italy. During his stay in Europe, Mr. Yan went to France, Belgium and Italy, and purchased a large number of giant plaster casts and shipped them to his home country. He transported a large number of giant plaster casts to his home country to enrich the teaching equipments. The school was enriched with teaching equipments. Until the eve of the war, he got more than 500 pieces. *** got more than five hundred pieces.
5, 1 937 after the Lugouqiao Incident, the outbreak of the war against Japan, the school for the internal relocation plan. Principal Yan carried plaster molds part, ? And led the teachers and teachers' families to take refuge, ? The school was moved to Yuhang, Zhejiang Province, where it is planned to move to Anhui Province. The boat was too big. The boat was too big and could not pass through the gate. They returned to Ningbo, and then from Ningbo to Shanghai. Later, the school opened in Shanghai. Opened a school in Shanghai, ? Called Suzhou American College Shanghai School.