At 18:30 on October 19th, the Beihong Forum organized by the School of Fine Arts was held in Room 501, Yuanmei Building, Xianlin Campus. This lecture was given by Li Ruoqing, professor of Guangzhou Academy of Fine Arts and the executive deputy editor of "Journal of Fine Arts". The lecture attracted many teachers and students to listen, and the academic atmosphere on site was extremely warm.
Li Ruoqing was born in Haifeng, Guangdong in 1975. From 1994 to 1998, he studied Chinese painting in the Fine Arts Department of South China Normal University. From 1999 to 2002, he studied in the Department of Fine Arts of Guangzhou Academy of Fine Arts, obtained a master's degree, and stayed on to teach. From 2003 to 2007, he studied at the China Academy of Art and received his Ph.D. He is currently a professor, master tutor of Guangzhou Academy of Fine Arts, executive deputy editor of "Journal of Fine Arts", member of the Theoretical Committee of the Chinese Artists Association, and director of the Theoretical Art Committee of the Guangdong Artists Association.
The theme of this lecture is "Art creation on the theme of revolutionary holy land in the early days of the founding of New China-Centering on the performance of the Guangzhou Peasant Movement Workshop". The lecture mainly focused on three aspects. Firstly, Professor Li Ruoqing introduced the background of the art creation of revolutionary sacred land in the early days of the founding of New China, that is, in 1926, Mao Zedong hosted the 6th Peasant Movement Workshop in Panyu Palace, Guangzhou. In 1953, the Ministry of Culture and the Revolutionary History Museum organized the creation of revolutionary paintings for the first time. Subsequently, the artists used different types of paintings and different forms of themes of agricultural research institutes, which reflected the social thoughts in the early days of the founding of New China, and thus opened the prelude to the artists' creations with revolutionary historical themes.
Secondly, Mr. Li’s explanation of specific cases of paintings based on the theme of the Peasant Movement Workshop in the revolutionary history painting reflects the fine works of China in the special period. The revolutionary era where the peasants were lectured was a place for spiritual washing, which also destined that paintings in this period served to carry out revolutionary propaganda work. Under such specific pressure, a series of classic works were produced. For example, in the 1950s, Yang Zhiguang and Zhan Jianjun were represented, and in the 1960s, Chen Yanning, Tang Xiaoming, and Wu Qizhong represented a series of paintings on the subject of the Peasant Movement Workshop, reflecting Mao Zedong’s amiable and amiable paintings during this period The image also reflects the people's love for leaders from the side.
Finally, Professor Li made a detailed analysis of the Peasant Movement Workshop of the revolutionary sacred landscape painting subject. When talking about the painting transformation of Qian Songyan and Fu Baoshi during the revolutionary period, Mr. Li said that it was precisely because of their in-depth exploration and exploration of Chinese painting themes. It makes Chinese paintings continue and preserve.
At the end of the lecture, Professor Li Ruoqing actively answered questions for the students. The atmosphere was very warm. Students from various colleges and majors have expressed their opinions. We believe that after this lecture, the students should have a deeper understanding of the art creation on the theme of the Revolutionary Holy Land in the early days of the founding of New China.