（来源：邯郸日报） 转自：邯郸日报 中国艺术研究院特聘研究员、张文新艺术研究会会长韩玉臣介绍张文新先生艺术经历 市美术家协会副主席、邯郸学院美术与设计学院院长王琦 市美术家协会副主席、邯郸学院美术与设计学院设计系主任邹永新 油画《嘎达梅林》 （2009年） 油画《韩玉臣》 （2012年） 油画《巍巍太行》 （1979年） 油画《伊丹娜》 （2009年） 张文新不同时期创作的油画《绣衣女》 油画《美丽的林荫道》 （2010年） 油画《周庄的早晨》 （2009年） 市美术家协会副主席、邯郸学院美术与设计学院院长王琦，市美术家协会副主席、邯郸学院美术与设计学院设计系主任邹永新，认真欣赏了每 幅画作，并在开幕式上坦言，张文新先生的作品蕴含着深厚的历史情感与时代烙印。这次展览不仅是视觉的盛宴，更是一次很好的学习契机， 油画《间苗》 （1963年） 本报讯（文华）薪火相传，艺境长存。1月17日上午，由韩玉臣美术馆特别策划的以馆藏原作和高仿油画构成的"大师足迹 奋斗赞歌"张文新艺 术回顾展，以简约雅致的形式拉开帷幕。展览展出已故著名画家张文新创作的美术代表作品119幅。我市艺术界、油画界人士，韩玉臣油画高 研班学员，及新闻 ...

Group 1: Cultural and Technological Integration - The training program organized by the Provincial Propaganda Department focuses on integrating cutting-edge technology into local cultural contexts, with representatives from various universities and local propaganda departments participating in discussions [1] - The Fujian Provincial Cultural and Technological Special Task Force was initiated in October last year, targeting four areas: cultural creativity, red culture, fine arts, and the film industry, with pilot projects launched in several counties [1] Group 2: Stone Industry Development - The stone industry in Nan'an has a market value exceeding 100 billion, accounting for about 70% of the national market share, with over 1,700 related enterprises and more than 250,000 workers [2] - The "Tech + Culture" approach is being adopted to elevate the value chain in the stone industry, with a focus on high-quality talent development, platform construction, and high-level results transformation [3] Group 3: Red Culture Industry - The red culture industry in Longting faces challenges due to a lack of integration, with resources being abundant but products lacking depth [4] - The task force is working to create a coherent narrative to connect various cultural and historical sites, transforming them into a more attractive and integrated experience for visitors [5] Group 4: Art and Technology in Museums - The establishment of an AI digital person at the Pucheng Art Museum aims to enhance visitor engagement and transform traditional exhibition methods [6] - The museum has been actively integrating local cultural, educational, and tourism resources to attract visitors since its opening in October 2023 [6] Group 5: Film Industry Development - The establishment of a "crowd actor training base" in Taining marks a new phase in systematic and professional talent cultivation for the local film industry [8] - The task force is facilitating resource connections between Taining and various film production entities, enhancing the local film industry's ecosystem [9]

Core Viewpoint - The news highlights the passing of renowned muralist and art scholar Chu Qien, who significantly contributed to the development of modern mural art in China, at the age of 92 due to illness [1][2]. Group 1: Personal Background - Chu Qien was born in September 1933 in Qingdao, Shandong, and began his artistic training at a young age under various masters [1]. - He graduated from the Central Academy of Craft Art in September 1961, studying mural painting under notable artists [1]. - His teaching career spanned several institutions, including Anhui Art Academy and Shandong University of Arts, where he held various academic positions until his retirement in December 1993 [1]. Group 2: Artistic Contributions - Chu Qien focused on traditional heavy color techniques and incorporated ceramic materials into his mural creations, making significant contributions to modern mural art in China [2]. - He was a key member of the creative team for the large mural project at Beijing Capital International Airport, specifically as a deputy leader for the mural "Nezha Conquers the Dragon King" [2]. - His notable works include "Subduing the Dragon and Tiger" (New Year painting), "Huangshan" (mural), "West Sea Clouds" (mural), "Dai Zong Rising Sun" (mural), and "Fan Zhongyan" (mural), which have been featured in major art collections and exhibitions [2]. Group 3: Scholarly Contributions - Chu Qien authored the academic book "History of Chinese Mural Painting," filling a significant gap in mural research in China [2]. - He published several articles on topics related to mural art and environmental art, contributing to the academic discourse in these fields [2].

Core Viewpoint - The 10th China Beijing International Art Biennale, themed "Symbiosis," aims to promote the construction of a community with a shared future for mankind through artistic exchange, showcasing nearly 600 contemporary artworks from around 120 countries and regions [3][4]. Group 1: Exhibition Overview - The exhibition will open on December 29 and run until January 28, 2026, at the Beijing Exhibition Center, covering a total area of 15,228 square meters, marking an unprecedented scale [3]. - A total of over 9,000 artworks were submitted during the three-month call for entries, with over 7,300 submissions for the domestic theme exhibition and 1,585 from overseas, including participation from 124 countries and regions [3][4]. Group 2: Exhibition Structure and Themes - The exhibition features a structure of "thematic exhibitions + special exhibitions + country exhibitions," focusing on global issues such as peace development, ecological civilization, and technological ethics [4]. - The thematic exhibition is divided into five sub-themes: "Fission," "Growth," "Flow," "Refinement," and "Sound," addressing topics like war and peace, the conflict and harmony between industrial civilization and nature, and the reconstruction and hope following social turmoil [4]. Group 3: Special Features - The biennale will include an international digital art special exhibition titled "Human Intelligence Symbiosis," featuring nearly 50 cutting-edge artists presenting works in AI art, interactive installations, immersive imagery, and virtual reality [4]. - A country exhibition dedicated to Serbian contemporary art will showcase 32 works by 19 artists, interpreting global sustainable development and peaceful dialogue [5]. Group 4: Academic Engagement - The event will elevate its academic discussions to the "1st Beijing Biennale International Art Conference," scheduled for December 29-30, featuring around 50 art theorists, curators, and museum directors from five continents [5].

Core Viewpoint - The exhibition "Art for the People" celebrates the 65th anniversary of the Shanghai Chinese Painting Academy, showcasing the evolution of Chinese painting from traditional styles to modern interpretations that resonate with contemporary life [1] Group 1: Historical Context and Evolution - The early years of the People's Republic of China saw traditional Chinese painting struggling to meet modern aesthetic demands, leading to the establishment of art academies in Beijing and Shanghai that encouraged artists to engage with real-life subjects [2] - Artists began to explore the integration of traditional techniques with contemporary themes, moving beyond the confines of traditional literati painting to depict the realities of industrial and agricultural life [3] Group 2: Artistic Transformation - The shift in focus from traditional themes to the depiction of workers and soldiers reflects a broader cultural movement during the 1950s, as exemplified by Cheng Shifa's work "Singing the Motherland in Spring," which merges traditional styles with modern subjects [3] - The "New National Painting Movement" in the 1950s and 1960s saw artists incorporating industrial and urban landscapes into their works, as demonstrated by Lu Yanshao's "Shanghai Port," which captures the bustling activity of the port [4] Group 3: Thematic Exploration in Various Genres - Flower-and-bird painting also underwent transformation, with artists like Tang Yun incorporating contemporary symbols into their works, thus bridging traditional art with modern life [5][6] - The Shanghai Chinese Painting Academy's initiatives in the late 1950s encouraged artists to extend their creativity into applied arts, resulting in a deeper connection between art and everyday life [6] Group 4: Contemporary Challenges - New-generation artists are now tasked with maintaining the core spirit of Chinese painting while engaging with global perspectives and technological advancements, prompting ongoing exploration of how to narrate Chinese stories in a modern context [7]

Core Viewpoint - The "Mountain and Sea Atmosphere - Liaoning Fine Arts and Calligraphy Exhibition" showcases over 200 works from various generations of artists in Liaoning, highlighting the province's rich cultural heritage and artistic vitality [1][2]. Group 1: Exhibition Highlights - The exhibition features a diverse array of artworks, including pieces like "Awakening," "Dreaming of Huangshan," and "Steel Water, Sweat," which collectively illustrate the evolution of Liaoning's art [1]. - A collaborative long scroll titled "Lingyun Lushan Map," created by prominent artists, has become a popular attraction among visitors [2]. - The exhibition includes significant historical representations, such as "Battle of Liaoshen: Capturing Jinzhou" and "Qiu Shaoyun," which connect viewers with historical narratives [1][2]. Group 2: Artistic Contributions - Liaoning artists are noted for their ability to transcend local boundaries, with works depicting historical events and contemporary life, such as "Zheng Chenggong Recapturing Taiwan" and "The Oil Battle of Daqing in 1959" [2]. - The sculpture section features dynamic pieces that embody the spirit of progress and resilience, such as "We Walk on the Great Road" and "Zhao Yiman," reflecting the region's revolutionary heritage [2]. - The calligraphy section presents 93 works showcasing the unique "Liaohai Calligraphy Style," which combines various scripts and emphasizes both strength and tranquility [2][3]. Group 3: Cultural Significance - The exhibition serves as a platform for dialogue on tradition and innovation, linking ancient cultural roots to modern industrial narratives and revolutionary memories [4]. - Liaoning's artistic community is recognized for its robust creative force, drawing inspiration from both local culture and broader national narratives [2][4]. - The event encapsulates the essence of Liaoning's artistic identity, characterized by its historical depth, industrial realism, and revolutionary spirit [4].

Core Insights - The art exhibitions in the fall season reflect a vibrant innovation and diverse practices, highlighting a desire for epic masterpieces and timeless classics [1] - Art creation serves as a visual carrier of the zeitgeist and humanistic care, requiring emotional expression to resonate with the times and be rooted in contemporary Chinese culture [1] Group 1: Artistic Dimensions - "Big" refers to the scale and spiritual dimension of artistic creation, emphasizing the need for individual cognition to transcend within a broader cultural context [1] - "Small" represents the creator's introspection, focusing on the delicate expression of individual experiences to convey emotional warmth effectively [1][2] - "Many" pertains to the diversity of artistic styles and the steadfastness of creative beliefs, where the unity of language and spirit is essential [2] Group 2: Philosophical Aspects - "Few" embodies aesthetic wisdom, advocating for a reduction in language to eliminate redundancy and achieve a state where "less is more" [2] - The relationship between "big" and "small," as well as "many" and "few," reveals their theoretical value in the dialectic of commonality and individuality [2] - The effectiveness and social impact of artworks depend on both their intrinsic quality and their alignment with the contemporary context [2][3] Group 3: Artistic Experimentation - Art creation is fundamentally a visual experiment about "how it could be," rather than a mere reproduction of "why it is so" [3] - Engaging in dialogues between representation and expression, objectivity and subjectivity, commonality and individuality fosters a diverse and symbiotic artistic ecosystem [3]

Core Viewpoint - The graduation exhibitions from various art academies in China are gaining significant public attention, showcasing the integration of art with social issues and the impact of social media on their visibility [1][2][3] Group 1: Exhibition Highlights - The Central Academy of Fine Arts' exhibition "Walking Towards Light" and the China Academy of Art's "Seventy-Two Changes" are examples of how these events are breaking traditional boundaries and engaging with the public [1] - The work "Prayer" by a graduate from Sichuan Fine Arts Institute critiques consumerism and has garnered over 400,000 likes on social media, illustrating the dialogue between art and the audience [1][2] - The sculpture "Dripping Instrument" from the China Academy of Art merges natural water patterns with ancient Chinese compasses, showcasing the fusion of science and art [2] Group 2: Social Engagement and Interaction - Recent shifts in art academies' perspectives emphasize public interaction, transforming exhibitions into city-wide art festivals that include guided tours and lectures to make art more accessible [3] - The exhibitions span multiple locations, including various campuses and public venues, promoting a shared experience between educational achievements and community engagement [3] - The evolution of art from static works to dynamic events reflects a broader dialogue with society, allowing students to better understand social needs and define their career paths [3]

Group 1 - The exhibition "Its Fate is New - Guangdong Art Century Exhibition" showcases over 160 classic works from the Lingnan School, highlighting the historical development of Guangdong art and the cultural connection between Guangdong and Hong Kong [1] - The exhibition aims to serve as a window for the world to see the modern transformation of Chinese civilization, a bridge for cultural identity between the two regions, and a call for a new generation of artists to continue the artistic legacy in the Greater Bay Area [1] - The prominent feature of modern Guangdong art is its innovation, with the Lingnan School advocating for a blend of Eastern and Western styles and ancient and modern influences [1] Group 2 - The exhibition includes a section on the "Dagger and Spear - New Woodcut Movement and Comics," reflecting on the wartime art and its significance in patriotic education [2] - Historical materials displayed in the exhibition emphasize the deep-rooted relationship between the mainland and Hong Kong, showcasing the evolution of Guangdong art from 1916 to 2024 [2] - The exhibition design incorporates both cultural relics and contemporary art, featuring works from young artists from both regions, thus aligning with popular culture [2] Group 3 - The ongoing exchanges between artists from Guangdong and Hong Kong are fostering an open and innovative cultural landscape in the Greater Bay Area, with the exhibition providing new opportunities for cultural and artistic outreach [3] - The establishment of regular cooperation mechanisms, such as the "Greater Bay Area Artists Alliance," is enhancing the cultural ties between Guangdong and Hong Kong [3] Group 4 - The collaboration through art is seen as a means to explore and advance cultural prosperity and development in the region [4]

Core Viewpoint - The article emphasizes the importance of cultivating young artistic talent in the context of China's cultural development and the need for high-quality growth in the art sector, particularly in the field of fine arts [1][2]. Group 1: High-Quality Development Needs - The construction of a culturally strong nation is a strategic support for the great rejuvenation of the Chinese nation, with the high-quality development of the fine arts being a crucial component [2]. - Young talents are seen as the driving force for artistic innovation, serving as both inheritors of traditional culture and shapers of contemporary spirit, thus enhancing international cultural discourse [2]. - Major art colleges play a pivotal role in transitioning from traditional skill teaching to innovative talent cultivation, with a focus on integrating traditional and emerging fields [2][3]. Group 2: Talent Training and Market Dynamics - In 2024, the proportion of applicants for emerging disciplines in the nine major art colleges reached 61.4%, an increase of 4.2% compared to previous years [3]. - The demand for digital art positions has a gap of 28%, indicating a structural contradiction in talent cultivation and industry needs [3]. - The employment distribution shows that 68.4% of graduates from the nine major art colleges are employed in the eastern region, while only 12.5% are in the western region, highlighting regional disparities [3]. Group 3: Youth Engagement and Membership Trends - The willingness of young individuals to join the China Artists Association has significantly increased, with 39.46% of new national members being young artists [4]. - The proportion of new artistic groups among national members rose from 12.08% to 19.87% over the past five years, indicating a shift towards a more vibrant and innovative artistic community [4]. Group 4: Mechanism Innovation and Support Programs - The China Federation of Literary and Art Circles and the China Artists Association have implemented various support projects to create a systematic and professional talent training mechanism [7]. - The "Youth Literary Creation Support Program" has funded over 478 projects with more than 59 million yuan, with 45% of the projects aimed at new artistic groups [7]. - The "National Youth Art Exhibition" serves as a talent incubation platform, with over 60% of participants advancing to provincial-level associations or teaching positions [8]. Group 5: Future Directions and Systematic Reform - The article calls for a systematic approach to reforming talent cultivation mechanisms, encouraging art colleges to break down barriers and adopt interdisciplinary training models [9]. - It emphasizes the need for industry organizations to improve connections and incentive mechanisms, allowing young talents to take on significant roles [9]. - A cultural ecosystem that respects artistic laws and embraces diverse innovations is essential for the integration of youth creativity with national aspirations [9].