Jinshi·Zen Heart—Record of the Symposium on the Special Exhibition of Wu Changshuo’s Works from the Collection of the National Art Museum of China

At 2:30 p.m. on April 29, 2023, the “Jinshi·Zen Heart—A Special Exhibition of Wu Changshuo’s Works from the Collection of the National Art Museum of China,” part of the “Eight Great Mountainsman Dialogue Series,” was held at the Eight Great Mountainsman Memorial Hall.

 

 

  

Director of the Eight Great Mountains Man Memorial Hall   Zhou Xiaojian

 

Zhou Xiaojian, director of the Eight Great Mountains Man Memorial Museum, introduced the details of the exhibition and the distinguished scholars who attended, extending a warm welcome to all guests. Attending the symposium were An Yuanyuan, Party Secretary of the China National Art Museum; Wang Xiangyang, Vice Chairman of the China Sculptors Association; Niu Hongbao, Professor at the School of Philosophy of Renmin University of China and former Dean of the College of Arts; Wu Xueshan, Professor at the Central Academy of Fine Arts; Zhu Jian, head of the Collection Acquisition Department at the China National Art Museum; Fu Qiang, Deputy Director of the China National Art Museum’s Committee for Collection Acquisition and Restoration Guidance; Xue Shuaijie, Research Curator in the Museum’s Collection Department; Zhou Wang, Associate Research Curator at the Prince Gong’s Mansion Museum under the Ministry of Culture and Tourism; Lei Ziren, Professor and Doctoral Supervisor at Renmin University of China; Chen Mi’ou, Director of the Culture and Sports Department of the Jiangxi Daily; and Liao Yuanyu, Associate Professor at Jiangxi Normal University. The meeting is hosted by Deng Feng, Deputy Director of the Art Restoration Department at the National Art Museum of China, presides. 。

 

           

         Deputy Director of the Art Restoration Department, National Art Museum of China   Deng Feng

 

Teacher Deng Feng, the executive curator of this exhibition, introduced the works by Wu Changshuo from the collection of the National Art Museum of China. More than 100 pieces (sets) are on display this time at the Eight Great Masters of the Ming Dynasty Memorial Hall—of which a total of 64 are being exhibited, marking the largest-ever presentation to date. We believe that bringing Wu Changshuo’s works to the Eight Great Masters of the Ming Dynasty Memorial Hall is not only a remarkable connection between the National Art Museum of China and the memorial hall itself, but also a dialogue between two artistic masters: Wu Changshuo and the Eight Great Masters of the Ming Dynasty. In particular, for... This Museum It’s also a good opportunity. the opportunity to “go global,” and he also expressed his gratitude for the support provided by the Jiangxi art community to this exhibition.

 

       

Director of the Research Department, Eight Great Mountains Man Memorial Hall   Chen Wei

 

Subsequently, Chen Wei, director of the Research Department at the Eight Great Mountains Man Memorial Museum, introduced the concept behind the exhibition. The first part introduces how Wu Changshuo studied the works of Bada Shanren. ， This chapter continues... The concept behind the exhibition “Hun Wu Fu Zao Hen—Dialogue with Qi Baishi,” curated by the Eight Great Mountains Man Memorial Hall in 2019. ; The second part is based on poetry and verse, The two of you Artist Poetry Culture of the Comparison , Bada Shanren Poetry Implies Zen Thought ， Wu Changshuo Poetry Wealthy The atmosphere of everyday life; the third section focuses on showcasing Wu Changshuo. Work Art Style Through Draw 、 Print 、 Poem Multidimensional Present Wu Changshuo and Eight Great Mountains Man Art World 。

 

        

   Professor at the School of Philosophy, Renmin University of China, and former Dean of the School of Arts   Niu Hongbao

 

Niu Hongbao, a professor at the School of Philosophy of Renmin University of China and former dean of the School of Arts, shared his philosophical insights into the art of Bada Shanren and Wu Changshuo. Professor Niu noted that in constructing his artworks and expressing his ideas, Wu Changshuo consciously drew connections to earlier masters such as Bada Shanren and Xu Wei—a tradition deeply rooted in Chinese literati painting. This exhibition holds significant academic value in tracing and presenting the cultural lineage of Chinese painting, particularly in its careful handling of compositional structures and visual approaches. These aspects are also key to weaving together the entire exhibition. For younger generations of painters seeking to learn from their predecessors, what matters most is not merely imitating their style but rather sharing a common cultural and psychological sensibility—this, indeed, represents the very heart of the artistic lineage.

As younger generations, how can we find resonance in both embracing and learning from the art of our predecessors while also seeking to express ourselves authentically? Wu Changshuo precisely chose and defined his artistic path by incorporating inscriptions on bronze and stone into his paintings, thereby achieving a process of creation, refinement, and definitive stylistic characterization. In traditional Chinese art, brush and ink are intimately linked to the shaping and transmission of an individual’s sensitive inner life. Both Bada Shanren and Wu Changshuo used the language of brush and ink to forge an intrinsic connection with their own sensitive inner lives, thus perpetuating the cultural continuum. As a remnant of the Ming dynasty, Bada Shanren’s unique identity and experiences imbued his lines with greater roundness and cool detachment, yet they also exude stubbornness and solitude. During Wu Changshuo’s lifetime, the Chinese nation faced internal turmoil and external threats. Drawing upon inscriptions on bronze and stone, he developed his own distinctive painting language characterized by bold, passionate lines that broke away from the languid and decadent style prevalent at the end of the Qing dynasty, seeking instead a profound expression of his own emotions. In fact, Wu Changshuo’s exploration and mastery of the brush and ink techniques associated with inscriptions on bronze and stone continued the cultural lineage initiated by Bada Shanren, ultimately giving rise to his own unique style—a defining characteristic of his personal artistic voice. 。

 

      

Vice Chairman of the China Sculpture Association   Wang Xiangyang

 

Wang Xiangyang, Vice Chairman of the China Sculptors Association, shared his insights from a sculptural perspective. He believes that both Bada Shanren and Wu Changshuo had experienced hardship and both carried a profound sense of solitude. In his youth, Wu Changshuo led a life marked by constant displacement; after taking up painting, he integrated brush and ink into the art of seal carving—effectively blending the techniques of knife work with those of brushwork to convey his inner emotions. Although he often associated with painters, officials, and merchants, these social connections were, in fact, a way for him to find solace after the war. Reflecting on this parallel, Wang Xiangyang drew an analogy to Giacometti, a Swiss existentialist sculptor who lived slightly later than Wu Changshuo. Having endured the hardships of World War II, Giacometti’s works likewise brim with intense emotional expression. Subsequently, Wang raised the question of whether Wu Changshuo’s paintings, having been influenced to some extent by Western art, might also have exerted an influence on the West. Teacher Wang argued that in the last century... In the 1920s, Wu Changshuo held several exhibitions in Japan with the assistance of Wang Yiting. Wang Yiting also introduced Wu Changshuo and his art to Japan’s political and business circles, becoming a frequent guest at “Rokusan Garden,” a venue often used by Japanese political and business elites to host distinguished visitors. Could it be that the circulation of Wu Changshuo’s works in Japan had an impact on the West? Considering his fate, which closely parallels that of Giacometti—and the intense sense of conflict between fullness and emptiness evident in Giacometti’s sculptures—both artists achieved healing of their own inner wounds through their artistic creations. Therefore, Teacher Wang believes there is a strong possibility that Wu Changshuo’s works made their way to the West and exerted an influence there. 。

 

       

Professor at the Central Academy of Fine Arts   Wu Xueshan

 

Professor Wu Xueshan from the Central Academy of Fine Arts, in conjunction with... The PPT presented an academic report titled “Not Quite Capturing the Essence: Wu Changshuo’s ‘Imitation’ of Xue Ge—Gains and Losses.” The academic community has offered numerous interpretations regarding Wu Changshuo’s emulation of Bada Shanren’s lotus paintings. In his inscriptions on paintings, Wu Changshuo repeatedly stated that he had studied Bada Shanren’s lotus works; some of these inscriptions can be found in “Fu Lu Bie Cun,” published in 1893. Currently, it is confirmed that Wu Changshuo had already come into contact with and studied Bada Shanren’s works as early as 1890 or even earlier. Beyond lotus paintings, Wu Changshuo also engaged in other instances of studying Bada Shanren’s art. First, trees. On Bada Shanren’s “Hanging Pine Painting,” Wu Changshuo wrote a colophon in 1895. That same year, Wu Changshuo also painted a “Pine and Rock Hanging Scroll,” and the two works share striking similarities in their depiction of trees and brushwork. The connection between this painting and Bada Shanren’s work is evident to all, yet Wu Changshuo himself denied this association, claiming in his colophon that the pine depicted was an ancient tree from Dusong Pass in Anji—not an “imitation of Xue Ge.” Second, deer. Wu Changshuo’s “Copy of Bada Shanren’s Deer Standing Scroll” bears an extremely high degree of resemblance to Bada Shanren’s “Camphor Tree and Deer Painting Scroll”; clearly, it derives directly from the latter or from a copy thereof, though Wu Changshuo’s rendition simplifies the outline and texture of the deer’s fur. Third, birds. In Wu Changshuo’s late-life “Han Man Yue Xin Album,” the ink seagulls and ink birds are copies of Bada Shanren’s “Double Birds Album.” While the postures and details of the birds in Wu’s works are slightly inferior to those in the original, they nonetheless show Wu’s skillful imitation. At times, Wu Changshuo expressed deep regret over his failure to fully capture the essence of Bada Shanren’s style—for instance, in one of his lotus paintings, he lamented, “I’ve tried to imitate Xue Ge, yet I feel I’ve still not quite gotten his essence—how frustrating!” Interestingly, when Wu Changshuo studied other masters from previous generations, he seemed completely at ease and confident, often noting in his own inscriptions that he had “studied Chen Baiyang yet retained his unique spirit,” “somewhat resembled Tianchi and Shitao,” or “tried to emulate Shishi but still captured his spirit perfectly.” Finally, Professor Wu concluded that although Wu Changshuo spent nearly four decades copying and imitating Bada Shanren’s work, he himself felt he had “still not quite captured his essence.” Some scholars argue that Wu Changshuo’s “lack of resemblance” precisely reflects his originality. Yet it is worth noting that despite his self-perceived failure to fully capture Bada Shanren’s style, Wu Changshuo nevertheless harbored a deep sense of frustration and regret. 。

 

 

       

Professor at Renmin University of China and Doctoral Supervisor   Lei Zi Ren

 

Just What exactly is Teacher Wu Xueshan’s “Wu Changshuo Studying Bada Shanren”? “Was it ‘not quite achieving resemblance,’ or ‘intentionally avoiding resemblance’?” To this, we might add: At present, we simply cannot determine whether Wu Changshuo was copying from direct observation, copying from memory, or merely drawing inspiration in his own way. It’s equally possible that he had merely seen these works and then imagined how to replicate them—or even deliberately chose to deviate from exact imitation. The question of “resemblance” versus “unresemblance” has long been a central issue in art history. Even Bada Shanren developed his own distinctive style by building upon the foundations laid by his predecessors—particularly drawing on Xu Wei’s brushwork and ink techniques as well as Dong Qichang’s structural features in landscape painting, both of which were profoundly significant. By contrast, although Wu Changshuo initially felt frustrated by Bada Shanren’s “unresemblance,” it was precisely this very “unresemblance” that enabled him to forge his own unique style, influencing modern and contemporary artists such as Qi Baishi and Pan Tianshou. This influence can be seen specifically in two key aspects: First, in terms of subject matter and cultural reception. Wu Changshuo’s works predominantly featured traditional subjects like lotus flowers, plum blossoms, orchids, bamboo, and chrysanthemums—subjects that conveyed virtues such as remaining unstained despite being immersed in mud, the “Three Friends of Winter,” and the noble character of the gentleman—and also reflected the tastes of secular cultural consumption. His work had a profound impact on later 20th-century freehand flower-and-bird painters like Qi Baishi, shaping their stylistic approaches and aesthetic sensibilities. In contrast, Bada Shanren’s works on similar themes served more as affirmations of his solitary, proud selfhood; they primarily expressed his virtual relationship with the world, imbued with Zen-like spirituality and philosophical depth. Second, in terms of composition and calligraphy. Wu Changshuo’s paintings are richly filled with diverse elements, and his compositional arrangements often drew directly from his experience in seal carving. Calligraphy and depicted objects were treated as relatively independent components, while inscriptions typically served to frame and balance the overall composition, enhancing the artwork’s overall atmosphere and imparting a sense of metallic solidity and stone-like weight. By contrast, Bada Shanren’s works featured fewer, more sparse elements; calligraphy and depicted objects merged seamlessly into one another, forming an inseparable, architecturally structured unity. From the perspective of artistic practice, it’s not difficult to notice that, within works on the same theme, many of Wu Changshuo’s inscriptions could be freely interchanged. But in Bada Shanren’s works, this was impossible—the size, content, and number of inscriptions were all intimately integrated with the paintings themselves and could never be substituted arbitrarily. Teacher Lei argues that this fundamental difference lies in the planar nature and expansibility of Wu Changshuo’s art, whereas Bada Shanren’s work is characterized by the opposite qualities. He also hopes that through the presentation of these exhibited works, we can further explore the gains and losses involved in learning from the past. 。

 

         Director of the Culture and Sports Department, Jiangxi Daily Newspaper.   Chen Mi Ou

 

River Chen Mi'ou, Director of the Culture and Arts Department at the Xiri Daily, believes that the exhibitions presented in recent years by the Eight Great Mountains Man Memorial Hall have all been structured around the thread of art history and focused on exploring academic issues. Whether it’s the retrospective exhibitions tracing the legacy of the past, the dialogue with Qi Baishi, or the ongoing exhibition “Zen Heart in Metal and Stone,” all these exhibitions revolve around the figure of the Eight Great Mountains Man. From a media perspective, beyond the memorial hall’s own responsibilities and efforts, such exhibitions would not have been possible without the support of specialized institutions like the Palace Museum, the National Art Museum of China, and the Beijing Academy of Painting. This collaborative approach and sharing of resources can serve as an exemplary model for future reference.

In addition to showcasing Wu Changshuo’s signature flower paintings, the exhibition also features exceptionally rare works depicting birds, landscapes, and figures, highlighting the remarkable richness of the Chinese National Art Museum’s collection of Wu Changshuo’s art. The exhibited pieces include “Potted Chrysanthemums,” “Folded-Paper Peaches,” “Fragrant Shadows of Flowers,” and the work he gifted to Pan Tianshou. “The whispers of alleyways and street talk all find their way into his poetry,” reflecting the vibrant essence of his life. It may well be precisely this blend of refined elegance and popular appeal—where even the most mundane subjects are transformed into art—that enabled Wu Changshuo to become a leading figure in 20th-century Chinese painting, influencing artists such as Qi Baishi, Zhao Yunhe, and Pan Tianshou. From a media perspective, although Wu Changshuo was not a professional painter by trade (he only became one later in life after moving to Shanghai), his remarkable achievements were inseparable from his extensive promotion and dissemination. There were two main factors behind this success: First, he enjoyed an exceptionally long period of promotion and publicity. In traditional Chinese painting, mastery of brush and ink is crucial, and these skills naturally mature with age. Both Wu Changshuo and Qi Baishi experienced dramatic breakthroughs in their later years. Compared to contemporaries like Li Ruiqing and Ren Bonian, who died prematurely, Wu Changshuo had far more time to hone his craft and promote his work. Second, the powerful support provided by Wang Yiting. As a key patron and market promoter of the Shanghai School of art, Wang Yiting was both Wu Changshuo’s mentor and friend. He introduced Wu Changshuo’s works to Japan, where they had an enormous impact. 。

       

Associate Professor at Jiangxi Normal University   Liao Yuanyu

 

The title of the speech given by Associate Professor Liao Yuanyu from Jiangxi Normal University is: “On the Development of Academic Exhibitions at the Eight Great Mountains Man Memorial Hall from the Perspective of Dialogue Themes.” She argues that since 2019, the Eight Great Mountains Man Memorial Hall has primarily adopted three curatorial approaches centered on dialogue: First, exhibitions of ancient Chinese paintings and calligraphy paired with aesthetic education. These exhibitions feature works by artists from the Qing dynasty through the modern era who have studied and developed their own unique styles inspired by the Eight Great Mountains Man, fostering a dialogue between contemporary art and tradition through close copying and emulation. Examples include the exhibitions “Looking Back at Tradition” and “Completely Free of Traces of Chiseling,” as well as the two related study-and-copying exhibitions that extend from them. Second, engaging in dialogues with the Eight Great Mountains Man himself. This approach highlights contemporary artists’ research into and reinterpretations of the Eight Great Mountains Man within the context of today’s cultural milieu. Examples include the exhibitions “Deeply Inspired by Ge Shan” and “Revering Ge Shan, Filling the Heavens and Earth.” Third, extending the dialogue format beyond just the Eight Great Mountains Man to emphasize the continuity of artistic creation across different historical periods. Examples include the dual-exhibition dialogue “Flowing Streams and High Mountains: Painting New Landscapes” and “The Birth of a Painting.”

Under the first curatorial approach, this time... The “Jinshi Chanxin” exhibition further deepens the scholarly dimension of the dialogue-based exhibition. Taking Wu Changshuo’s inscribed poems on paintings inspired by Bada as its starting point, this exhibition not only showcases Wu Changshuo’s personal artistic philosophy but also sheds light on his collection and appreciation of Bada’s works. The exhibition inspires us to explore Bada’s influence on Chinese and global art by delving into the history of collecting and connoisseurship, communication studies, and sociology—tracing the trajectory from the dissemination practices of the Huizhou merchants and the acclaim of the “Eight Eccentrics of Yangzhou,” through the public and private collections in Shanghai and Suzhou during the late Qing and Republican periods, all the way to Japan. The numerous research insights sparked by this exhibition into both Bada and Wu Changshuo will also contribute to the comprehensive academic development of the Bada Shanren Memorial Hall. 。

 

          

Associate Research Fellow, Prince Gong’s Mansion Museum, Ministry of Culture and Tourism   Zhou Wang

 

Text Zhou Wang, an associate research fellow at the Prince Gong’s Mansion Museum of the Ministry of Culture and Tourism, believes that individual perception and resonance are of great importance. After viewing the exhibition, Teacher Zhou described Bada Shanren’s works as imbued with a sense of cool detachment, wistful nostalgia, and a desire to withdraw from the world—yet amid this nostalgia and retreat, there also shines through a lonely struggle. As for Wu Changshuo’s works, they are... The pursuit and self-mockery embodied in the lines, “Lotus flowers and lotus leaves smeared with ink; in heavy rain, one wonders whether their fragrance still lingers. For years I’ve wielded my brush in playful mischief, yet day after day I lie asleep among the reeds and cattails,” reflect a duality of perception shaped by visual communication—a duality that can be glimpsed in the very structure and style of his paintings. As Wu Changshuo put it, “I forcefully embrace seal-script and bronze-inscription styles to create wild cursive,” a technique rooted in the Stone Drum Inscriptions, characterized by a structural foundation of upright strokes intersecting with sweeping horizontal ones, all executed at an accelerated pace. As he himself once remarked: “I capture the spirit, not the form.” This approach ensures that the inner and outer energies of the painting are seamlessly connected; combined with the intricate interplay of ink washes and wild cursive script, it ultimately achieves a state of returning to emptiness and merging into harmony.

To borrow from literature, this rhythmic flow can be summarized as “rise, sustain, turn, and conclude.” Wu Changshuo paid meticulous attention to the “sustain” and “turn” phases, skillfully integrating ink wash, freehand brushwork, and seal-script styles, thus leaving an endless aftertaste and evoking a lingering charm that resonates long after the work is finished. Finally, he gathers his strength in the concluding stage... At the “harmonious” juncture, the composition reaches a climactic moment—a heavy hammer striking gold. Comparing the two artists, both fully exploit the space within and beyond the frame to create an imposing atmosphere. The key difference lies in the way Bada Shanren handles the turning point: rather than employing intricate, winding compositions, he opts for a straightforward, decisive approach that makes the image appear as if it’s bursting forth from left to right, generating a sense of conflict and evoking a cold, solitary visual style. This is precisely Wu Changshuo’s original “intentional creation”—a technique he adopted directly from his study of Bada Shanren. When we reflect on Pan Tianshou’s artistic pursuit of “strengthening the bones,” we see that learning from Wu Changshuo in a dialectical manner also embodies the inheritance and evolution of cultural traditions.

 

       

Deputy Director of the Guidance Committee for Collection Acquisition and Restoration at the National Art Museum of China   Fu Qiang

 

middle Fu Qiang, deputy director of the Guidance Committee for Collection Acquisition and Restoration at the National Art Museum, discussed the importance of aesthetic appreciation from the perspective of calligraphy. Having studied calligraphy for many years, Teacher Fu came to appreciate Wang Xizhi’s calligraphy even more after first encountering the works of Wang Xizhi and Bada Shanren. After the age of 40, I gradually came to appreciate the profound meaning behind Bada Shanren’s calligraphy. Teacher Fu said that Bada Shanren’s calligraphy has stripped away all ornamentation—there’s no clear beginning and no definitive end, giving one an endless sense of meaning. Reflecting on the exhibition’s interpretation, it’s crucial for docents to know how to interpret the works effectively; equally important for viewers is the enhancement of their aesthetic taste—a true elevation of aesthetic awareness.

Teacher Fu also shared his views on... The understanding of “Jinshi” and “Chanxin.” The so-called “Chanxin” refers to the boundless intention behind the brush—a boundless “intention” without any limits. Returning to Wu Changshuo’s “Jinshi,” he brought to light the boundless intention inherent in Bada Shanren’s works, using “Jinshi” as a medium to give tangible form to this “heart,” thereby articulating his own interpretation of Bada Shanren’s “heart.” From the perspective of artistic expression itself, all artworks arise from the artist’s perception and interpretation of “form” and “image.” “Form” is directly perceptible—it is “real”; whereas “image” is not directly perceptible—it is “virtual.” In artistic expression, every object either relies on its “form” to achieve “realism” or depends on its “image” to pursue “imagery”—yet both ultimately carry within them an underlying “intention.” Whether the “intention” emerges from “form” or takes shape through “image,” both paths can lead to “realm.” Bada Shanren’s “intention” was boundless, reaching the realm precisely by drawing upon the intangible “image.” Wu Changshuo, on the other hand, gave it tangible form through “Jinshi,” transforming the intangible images in Bada Shanren’s works into concrete “images,” thus enabling him to derive his own personal experience and insight. 。

          

Head of the Collection Acquisition Department, National Art Museum of China   Zhu Jian

 

middle Zhu Jian, head of the Collection Acquisition Department at the National Art Museum, shared his perspective from the standpoint of freehand brushwork painting. Taking Wu Changshuo’s “Bamboo in the Wind” from the exhibition as a starting point, Teacher Zhu argued that Wu Changshuo’s approach to painting bamboo differed dramatically from the more conventional, formulaic techniques typically employed. It seemed that Wu had deliberately sought to highlight his own unique personality. In contrast, the bamboo paintings by Bada Shanren not only displayed a strikingly distinct personal style but also adhered meticulously to established compositional conventions. At the time, Wu Changshuo enjoyed a high status in the art world, boasting both considerable professional prestige and financial strength; thus, he appeared even more capable of breaking free from tradition and pursuing the full expression of his individual style. Regardless of the underlying reasons, the comparison between these two artists serves precisely to deepen our understanding and interpretation of the concept of “xieyi”—freehand brushwork—in Chinese art. He believes that in xieyi— “Writing,” in fact, stems from the literati painting tradition’s emphasis on the shared origins of calligraphy and painting. Similarly, freehand brushwork painting is akin to writing—it’s a spontaneous and conscious habit that requires little deliberate thought yet emerges from long-term immersion in rules and practice of underlying principles. Grand freehand painting is like cursive script: it strives for freedom yet remains firmly grounded in structure—achieving freedom naturally within the bounds of established rules. Thus, Teacher Zhu poses a question: In artistic innovation, should one completely break away from conventions and tradition to express oneself freely, or should one rely on conventions and tradition to nurture and refine oneself?

Teacher Zhu also drew a comparison between Bada Shanren and Shitao. He believes that Bada Shanren was an extraordinary figure with a lonely and aloof inner world, while Shitao was a peculiar individual whose inner world was passionately fervent. The concepts of “extraordinary” and “peculiar” are not identical: the extraordinary is rare yet still plausible, whereas the peculiar is implausible. This difference may stem from their distinct backgrounds and life circumstances. Throughout his life, Bada Shanren endured great hardship, yet he strove tirelessly to reconcile himself with the world and with his own self—his entire life was marked by a yearning to find order and return to the mainstream. This is reflected in his brushwork, which evolved from the rigid, angular style of his early years to the smooth, rounded style of his later period; in his paintings, coldness and nostalgia coexist. Teacher Zhu said that after hearing the guide’s interpretation of “The Hanging Scroll of Ancient Plum Trees,” he felt deeply resonant with it. The old plum tree, half-dried yet still bearing new blossoms, vividly illustrates Bada Shanren’s relentless pursuit of life and the inner struggles he faced. In contrast, Shitao’s mindset was entirely different. Having been twice received by Emperor Kangxi, he did not harbor a strong sense of being a remnant of the former dynasty. Consequently, he allowed his personality to run more freely, exploring every possible peak and pursuing a style that defied conventional rules—a style that was utterly unconventional and even seemingly irrational. “Strange” 。

 

          

Research Curator, Collection Department, National Art Museum of China   Xue Shuaijie

 

middle Xue Shuaijie, a research curator in the Collection Department of the National Art Museum, introduced from a professional perspective on collection selection that the National Art Museum of China houses works by Wu Changshuo totaling... More than 150 items (sets), the earliest dating from 1887 and the latest from 1927, just before Wu Changshuo’s death. Among the works exhibited here, 34 have clear dates of creation, including 5 pieces from his 40s, 4 from his 50s, 4 from his 60s, over 20 from his 70s, and 5 created after he turned 80.

Teacher Xue believes that, in addition to paying attention to the painting style of Wu Changshuo’s works, we should also focus on the inscriptions and colophons as well as the collection and appraisal notes. For Chinese painting, inscriptions and colophons are an essential component, conveying not only information about the artwork itself but also the artist’s inner thoughts and feelings. In this exhibition, many of Wu Changshuo’s works display instances of repeated inscriptions or additional inscriptions. The exhibited pieces include “Potted Chrysanthemums,” “Cold Bearing,” “Three-Colored Peonies,” and “Ink Lotus,” which create a striking visual contrast with their original inscriptions and colophons. There are three main reasons for these repeated inscriptions: First, they were requested by clients or friends; second, after repeated careful consideration and refinement, the artist himself felt so satisfied that he added further inscriptions, reflecting his confidence and mastery; third, the artist incorporated his physical condition in his later years into the inscriptions—for example, noting his hearing loss or dental issues. Teacher Xue also discussed Wu Changshuo’s creative approach, which involved both copying and sketching from life. Among his works, “Potted Chrysanthemums” and “Iron-Boned Red” were created through direct observation from life, a fact clearly evident from their inscriptions. Speaking of sculpture and calligraphy, he argued that the sculptures of contemporary sculptor Xiong Bingming carry forward the same artistic lineage as Wu Changshuo’s seal-script calligraphy and stone-carving art. At the same time, the sense of line in Xiong Bingming’s sculptures closely resembles that found in seal script. 。

 

Secretary of the Party Committee of the National Art Museum of China   An Yuanyuan

 

middle An Yuanyuan, Party Secretary of the National Art Museum, drew on her early experiences and studies from organizing an exhibition on Pan Tianshou to make a comparative analysis of Chinese and Western cultures. She emphasized that cultural identity and cultural acceptance are of great importance. She argued that it is crucial for us to achieve genuine communication with our predecessors. In this process, schematic transformation and psychological transformation are particularly critical—only by breaking free from established patterns can we build cultural confidence, recognize and tap into the essence of traditional culture. Returning to the figure of Bada Shanren, who rose from a member of the imperial aristocracy to a down-and-out monk, we must not only pay attention to the visual imagery of his artworks but also deeply sense the artistic realm he created through brush and ink. As museum staff, it is essential for us to delve into the works of these great masters, conduct relevant comparative studies, uncover the continuity of cultural traditions, and bring forth the quintessence of Chinese traditional culture.

Secretary An also pointed out that the exhibition planned by the National Art Museum of China to mark the 60th anniversary of its official opening has three key objectives: first, to explore the symbolic significance of the cultural era; second, to examine the mission of socialist culture in serving the masses following the New Cultural Movement; and third, to investigate how specific creative practices can be integrated with outstanding cultural traditions. The upcoming exhibition, “Ink Traces and Literary Charm—Eight Great Masters, Shitao, and 20th-Century Chinese Freehand Art,” will further showcase, alongside exhibitions such as “Beauty in Shared Harmony,” concrete examples of mutual learning among civilizations—both ancient and modern, domestic and foreign. Museums and art galleries—including the National Art Museum of China and the Memorial Hall of Eight Great Masters—should treat these exhibitions as research topics, using them to shed light on contemporary cultural missions. In other words, through the processes of Chinese philosophy and Chinese cultural psychology—the ways in which cultural values are received and passed down—we can better grasp the relationship between “form” and “meaning,” “image” and “setting.” We can also explore how East and West, despite their different historical contexts and cultural settings, can achieve mutual understanding, integration, and shared development. Such solo exhibitions and comparative shows are highly meaningful for studying past eras, individual destinies, and national trajectories, as well as for reflecting on the present-day interplay between individuals and nations, and for jointly carrying forward our cultural heritage. 。

Finally, Teacher Deng Feng summarized by saying that the teachers had each shared their insights from perspectives including aesthetics, media, sculpture, calligraphy, and painting. Their contributions were both thoroughly argued and raised new questions, making this a multidimensional, integrated, and comprehensive academic study. For the audience, stepping into museums and art galleries, engaging directly with the artworks, and appreciating the original pieces—experiencing the immersive environment and atmosphere—plays a crucial role in deepening their understanding of the exhibition.