Core Points - The exhibition "Treasures of Gold and Stone: Ancient Discoveries and Artistic Renaissance in China from the 18th to 20th Century" opened on November 7 at the Musée Cernuschi in Paris, showcasing significant works in calligraphy, painting, and stone studies [1][2] - The exhibition highlights the impact of the technique of rubbing (拓印) on artistic innovation during the 18th to 20th centuries, emphasizing its role in reviving ancient cultural heritage and inspiring new artistic forms [1][2] - The exhibition will be open to the public from November 7, 2023, until March 15, 2026 [3] Group 1 - The collaboration between the Musée Cernuschi and the Zhejiang Provincial Museum aims to reflect the historical and cultural exchanges between China and France [1][2] - The exhibition is described as a manifestation of friendship and cultural exchange between China and France, as noted by Paris Mayor Hidalgo [2] Group 2 - The exhibition features a focus on the significance of stone studies (金石学) and its influence on both scholarly and artistic movements in the early 20th century [2] - The Zhejiang Provincial Museum has played a crucial role in rediscovering the importance of stone studies, particularly through the works of Qing Dynasty scholar and artist Liu Zhou [2]

Core Viewpoint - The article highlights the life and contributions of Lü Dalin, a pioneering figure in Chinese archaeology, who created the first systematic catalog of ancient artifacts, "Kao Gu Tu," despite facing the irony of his own tomb being looted centuries later [1][22]. Group 1: Background and Education - Lü Dalin was born into a prominent family in the Northern Song dynasty, known for its scholarly achievements, with several family members holding significant political and cultural positions [2][3]. - He was influenced by the academic thoughts of his time, particularly the "Qi Ben Lun" of the Guanzhong school, which emphasized practical knowledge over theoretical discussions [2][3]. Group 2: Contributions to Archaeology - Lü Dalin's work "Kao Gu Tu" was completed in 1092 and included 234 artifacts, meticulously documenting their shapes, inscriptions, and historical significance, establishing a rigorous academic standard for artifact cataloging [9][10]. - The book was innovative in its classification system, organizing artifacts by their uses, which influenced future scholars and remains relevant in modern studies [10][11]. Group 3: Methodology and Techniques - Lü Dalin developed six distinct drawing methods to accurately represent artifacts, including central projection and isometric projection, which allowed for a comprehensive visual understanding of the objects [12][19]. - His approach to documenting artifacts involved detailed descriptions of dimensions, inscriptions, and historical context, providing a reliable reference for future scholars [11][12]. Group 4: Personal Legacy and Irony - Despite his efforts to protect his own tomb with advanced designs, Lü Dalin's burial site was ultimately looted in a modern theft, highlighting the tragic irony of his life dedicated to preserving history [21][22]. - The article reflects on how Lü Dalin's contributions to archaeology and his vision for understanding ancient artifacts continue to resonate, even as his own legacy faced destruction [22].

Core Viewpoint - The article discusses the significance of Huang Binhong's artistic philosophy and contributions to Chinese painting, particularly highlighting his four foundational theories: "Te Jian Yao," "Nei Mei," "Bu Qi," and "Min Xue" [1][4][22]. Summary by Categories Huang Binhong's Life and Background - Huang Binhong, born on January 27, 1865, was a prominent figure in modern Chinese art, engaging in various roles such as painter, calligrapher, and educator [1][3]. - His life spanned significant historical events, including the Hundred Days' Reform and the founding of the People's Republic of China, influencing his artistic and cultural perspectives [3][4]. Artistic Philosophy - Huang Binhong's artistic philosophy emphasizes the importance of cultural mission and the role of art in shaping national spirit, advocating for the use of painting as a "Te Jian Yao" or "special medicine" for the nation [12][13]. - He believed that art should reflect the inner beauty ("Nei Mei") and moral character of the artist, asserting that true art captures the essence of nature and the universe [17]. The Four Foundational Theories 1. **Te Jian Yao**: This concept refers to the idea of using art as a remedy for societal issues, promoting the notion that painting can heal and uplift the national spirit [12][13]. 2. **Nei Mei**: Huang emphasized the distinction between inner and outer beauty, arguing that true artistic expression comes from understanding the deeper essence of nature [17]. 3. **Bu Qi**: He advocated for the appreciation of individuality and non-conformity in art, suggesting that beauty lies in asymmetry and uniqueness rather than uniformity [20]. 4. **Min Xue**: Huang positioned painting within the realm of "Min Xue," promoting freedom of thought and expression, contrasting it with the restrictive "Jun Xue" that served the elite [22]. Influence and Legacy - Huang Binhong's work and theories have had a lasting impact on the evolution of Chinese painting, bridging traditional techniques with modern artistic expressions [4][22]. - His approach to integrating Western artistic movements while maintaining a strong foundation in Chinese cultural heritage reflects a unique perspective in the discourse of art history [22].