#NationalArtMuseumofChina
LightNews LightNews
uridev.urieldana.com
Not dead yet, thank goodness. Chinese painter #JinShangyi (b.1934) trained at the #CentralAcademyofFineArts in Peking, & later under the painter #ConstantinMaksimov in the Soviet Union. Today, his works are featured in the collection of the #NationalArtMuseumofChina in Beijing where he lives &works.
May 23, 2025 at 1:31 AM
uridev.urieldana.com
Chinese painter JinShangyi (b.1934) trained at the #CentralAcademyofFineArts in Peking, and later under the painter #ConstantinMaksimov in the Soviet Union. Today, his works are featured in the collection of the #NationalArtMuseumofChina in Beijing where he lives and works
May 28, 2024 at 5:44 AM
mdstamper.bsky.social
少女像 (Portrait of a Girl) by 關紫蘭 / Guan Zilan aka Violet Kwan (Chinese) - Oil on canvas / 1929 - National Art Museum of China (Beijing) #WomenInArt #art #WomanArtist #ArtText #FemaleArtist #oilpainting #fauvism #關紫蘭 #GuanZilan #VioletKwan #WomensArt #ChineseArtist #中国美术馆 #NationalArtMuseumofChina
Considered her masterpiece, “Portrait of a Girl” (少女像) by Chinese avant-garde painter Guan Zilan (關紫蘭), also known as Violet Kwan, is a fearless work completed at just 26 when the young Shanghai native was studying art in Japan in 1929. Whether it is the style or color, the painting is wild and unrestrained fauvism. Although an art world favorite during the late 1920s and the 1930s, Guan Zilan stopped painting after the onset of the Cultural Revolution in the 1960s and 1970s to became mostly forgotten in modern Communist China. Some may know this painting as “Portrait of Miss L.” We see a young woman sitting on a chair and holding a cute white dog sporting a red ribbon. The girl is wearing a colorful red, blue, and white qipao (cheongsam) Chinese style dress popular in China at the time. The dress she is wearing is really dedicated and gorgeous, inferring that Miss L. is from the upper class. Miss L. is wearing a ring on each hand and a green bracelet on her right wrist. The facial expression of Miss L. is very peaceful and steady as her eyes look beyond us to our left like she is thinking and planning something. The colors are bright, vivid, bold, and with high contrast. The red lips and rosy cheeks contrast sharply with her extremely white face, as well as the colorful dress and blue sleeveless jacket. This is a common characteristic of the Fauvism style which is “the style of les Fauves (French for “the wild beasts”).” The fauvism style emphasized “painterly qualities and strong color over the representational or realistic values retained by Impressionism.” Unlike traditional Chinese painting with a lot of landscapes, trees, and Chinese architecture, this painting only has a small part of a blue curtain as the background. “Portrait of a Girl” really displays how Guan Zilan was absorbing and learning western culture and techniques while actively trying to combine and involve Chinese elements.
July 2, 2025 at 4:31 AM
mdstamper.bsky.social
Portrait of an Uyghur Woman by 한락연 Han Rak-yeon (Chinese-Korean) - Oil on canvas / c. 1937-1946 - 中国美术馆 National Art Museum of China (Beijing) #womeninart #art #oilpainting #한락연 #hanrak-yeon #中国美术馆 #NationalArtMuseumofChina #artwork #womensart #portraitofawoman #uyghur #beauty #veiledwoman #fineart
Chinese-Korean painter Han Rak-yeon (한락연) was a nationalist who actively participated in the anti-Japanese movement. Born in Lungjing, Jilin, to a Korean family which originated from Jongseong in Hamgyeongbuk-do, Han's first participation in the anti-Japanese movement was made in the March 13th anti-Japanese demonstration in 1919, when he personally drew and distributed many national flags of Korea, Taegukgi. Chased by the Imperial Japanese government, Han fled to Shanghai by way of Russia. He studied western painting for two years at Shanghai Art Institute, which was the first art college in China, and later opened an art school in Pengtian to teach art. In 1929, he left for France to study painting more seriously. While studying in France Han joined the Communist Party. After his return to China in 1937, Han devoted himself to the anti-Japanese movement and began to use his paintings as tools for making his visions come true. His paintings done in France were a mix of realistic and impressionist styles; however, from this time on, he used his paintings for promoting the cause of the anti-Japanese movement, depicting lives of the minorities in China, and making reproductions of mural paintings for the purpose of conserving ancient art. Against a reddish-brown background, this portrait portrays a young Uyghur woman with a sheer white veil draped over her head and shoulders, cascading down to her torso. The veil is rendered with visible brushstrokes, giving it a textured appearance and partially obscures her dark hair. With dignity and understated elegance, her light coffee skin tone and facial features are discernible with eyes that are dark and slightly downcast, conveying a subdued expression, yet her mouth offers a hint of a soft smile. With her hands clasped loosely in front of her displaying rings on her left hand. A thick orange beaded necklace sits above a cream-colored shirt covered by an open black jacket sporting what appears to be a corsage.
March 18, 2025 at 5:51 PM
robinhaettich.bsky.social
#NationalArtMuseumofChina 🔘
December 31, 2025 at 10:36 PM
mdstamper.bsky.social
秋谨烈士 (Martyr Qiu Jin) by 蒋采苹 (Jiang Caiping) - Ink on paper / 1992 - National Art Museum of China #womeninart #portrait #art #painting #artwork #womanartist #chineseart #namoc #nationalartmuseumofchina #chinese #feminist #warrior #martyr #womensart #fineart #秋瑾 #quijin #jiangcaiping #蒋采苹 #中国人
This vibrant ink portrait of "China’s Joan of Arc" by Chinese artist Jiang Caiping, portrays feminist poet and warrior revolutionary Qiu Jin in a light blue tunic and dark blue cape along with her black hair blowing in the wind as she unsheathes a long sword with red and white ribbons on the handle. She is strong, fierce, unafraid, and ready. Qiu defied prevailing gender and class norms of the late 1800s and early 1900s by unbinding her feet, cross-dressing, and leaving her young family to pursue an education abroad. With her passion for wine, swords and bomb making, Qiu Jin was unlike most Chinese women born in 1875. As a girl, she wrote poetry and studied Chinese martial heroines like Hua Mulan while fantasizing about one day seeing her own name written in history. But her ambitions ran up against China’s deeply rooted patriarchal society, which held that a woman’s place remained in the home. Undeterred, Qiu rose to become an early and fierce advocate for the liberation of Chinese women. Her legacy as one of China’s pioneering feminists and revolutionaries was cemented on July 15, 1907, when she was beheaded at 31 by imperial army forces who charged her with conspiring to overthrow the Manchu-led Qing government. It was her final act of resistance. Today, she ranks in the pantheon of China’s revolutionary martyrs because even though she failed as a revolutionary militant, she succeeded as a revolutionary talisman.
January 23, 2025 at 12:02 AM