Yinchuan Contemporary Art Museum

Located on the West Bank of the Yellow River, Yinchuan contemporary art museum is located in Yinchuan City, Ningxia Hui Autonomous Region, with a construction area of about 15000 square meters and surrounded by wetland park. Based on the growth rings of historical geography, Yinchuan combines the agitation and fusion of Central Plains culture, Hetao culture, silk road culture, Xixia Culture, Islamic culture and other cultures, and the diversified inclusiveness generated by the accumulation of "East West exchange" has become the characteristic of Ningxia culture. With the support of Minsheng culture and art foundation, Yinchuan contemporary art museum is based on local culture and combines global Islamic art to build a new international art and cultural exchange platform.

Yinchuan Contemporary Art Museum

Yinchuan Contemporary Art Museum, located on the West Bank of the Yellow River, is located in Yinchuan art Town, Huaxia River map, Yinchuan City, Ningxia Hui Autonomous Region. It was opened on August 8, 2015, covering an area of about 35 mu, with a construction area of 15000 square meters and a total investment of about RMB 224 million (excluding the collection investment). It is the largest single Contemporary Art Museum in Northwest China.

As a non-profit public art museum, Yinchuan contemporary art museum is striving to become a diversified contemporary cultural exhibition window open to the public and a learning platform from the perspective of globalization. It not only brings changes to the urban cultural landscape and provides a window for the exchange with the world art, but also promotes it to become a place for cultural exchanges, a source of inspiration for creation and imagination, and a platform for cultural exchange It is an inclusive and blending school.

Development history

The design started in July 2011 by WAA international architectural design team, inspired by the rock fold texture formed by the rich geological changes of the Yellow River in the past thousand years.

Construction began in September 2012.

From September 19 to 20, 2014, the International Symposium on "dimensions of civilization" co sponsored by Yinchuan Contemporary Art Museum and Ningxia Minsheng Real Estate Development Co., Ltd. was held in Yinchuan, Ningxia.

It opened on August 8, 2015;

Venue layout

Introduction to the exhibition hall

There are seven functional areas in the museum, including art exhibition area, commercial leisure area, education and training area, storage and logistics area, administrative office area, equipment and auxiliary room, and traffic flow area. The museum's collection includes hundreds of Chinese oil paintings in the late Qing Dynasty, maps about the early dialogue between China and the west, and contemporary Chinese art works.

Introduction to the exhibition

From December 19, 2015 to October 20, 2016, we walked into the West China Art Museum Collection Exhibition (Hall 5.6 on the third floor) and into the West II touch bottom (Hall 1.2 on the first floor);

From April 09, 2016 to July 10, 2016, very addictive (International Animation Exhibition) - the extension of daily aesthetics (exhibition hall 1.2 on the first floor + exhibition hall 5.6 on the third floor, public space of the whole museum, 60 international animation artists are to be invited); from July 23, 2016 to August 21, 2016, collection exhibition (exhibition hall 5.6 on the third floor) Yinchuan manufacturing (exhibition hall 1.2 on the first floor); from July 23, 2016 to August 21, 2016, collection exhibition (exhibition hall 5.6 on the third floor) Yinchuan manufacturing (exhibition hall 1.2 on the first floor); from April 9, 2016 to July 10, 2016;

From September 9, 2016 to December 18, 2016, the first Yinchuan Biennale 2016 (exhibition hall 1.2 on the first floor + exhibition hall 5.6 on the third floor + outdoor exhibition room);

Collection works

The main collections of Yinchuan contemporary art museum are works of the late Qing Dynasty, contemporary art and maps.

self-portrait

By George Chenery

1802-1825

Cloth oil paint

24.6 × 19.1cm

Painting self portraits is a relative tradition. Only when a painter has self-awareness and self-confidence about his identity and occupation, can he draw his own image into the painting. Therefore, the painting of self portraits should have a lot to do with the rising status of painters since the Renaissance. Chenery created many self portraits in his life. From the first exhibition of self portraits at the Royal Academy of Fine Arts in 1793 to the sketch on September 20, 1848, self portraits almost ran through his whole painting career. Undoubtedly, it is very meaningful to study the style of Chenery in various periods. No wonder several experts who study Chenery have opened a chapter for discussion.

Western gentleman sitting

Author: Lin Gua

This is a masterpiece of Lin Gua's portrait (with his signature on his back), which can be regarded as a classic of Lin Gua's small portrait. From the perspective of painting level, the level of portraits in Lin Gua's representative works "the statue of Mao Gua" and "doctor Peter Parker and his Chinese disciple Guan ADO" is similar. It should be around 1840. This period is the peak of Lin Gua's painting creation. From this painting, we can see Lin Gua's high understanding and inheritance of Western classical painting techniques. The whole work is skillful, fluent, relaxed and casual, colorful, rich and rhythmic.

Fishing alone by the river

Author: Xin Gua

Mid-19th century

Cloth oil paint

19.8 × 25.9cm

This is a landscape sketch with the artistic conception of Chinese landscape painting. With a few strokes, the author skillfully integrates the painting factors of light, color and reflection into the scenery. The colors are harmonious and rich, and the changes are subtle. The sky is full of sunshine in the distance, the clouds are gradually cold and floating, the houses and trees in the middle view are scattered, the distance is virtual and real, the river is calm, and one person is fishing by the river. A close-up view of the beach reefs, thick and thin to deal with, virtual and real, appears to have a plan.

Huangpu sailing shadow

Author: Nanchang

About 1860s

Cloth oil paint

1.4 × 40.1cm

This is a masterpiece of Nanchang landscape painting. It is worth noting that the composition of the picture is different from that of the general banner picture with wide sea view. He absorbed the processing method of traditional Chinese painting background and made the picture appear high and deep with a large sky. A touch of sunlight is reflected on the sea surface, and the thin and smooth wet pen writes out the transparent texture of the sea water; the overlapping mountains in the foreground gradually become virtual from reality, coupled with the echo of clouds in the sky, enrich the level and depth of the space in the unity, reflecting the artist's mature space processing skills. The busy people on the boat are vivid and dynamic. A small sampan is approaching the big boat and seems to be greeting each other. The fine and specific description of the foreground and the lively and fluent brushwork enhance the plot and story interest of the picture.

Shanghai Bund

Author: Zhou Gua

C. 1850-1860

Paper watercolor

27 × 51.3cm

This is the earliest painting about the Bund in Shanghai. It is the forerunner and pioneer of oil painting in Shanghai. It is the representative work of Guangdong painter Zhou Gua. It is nearly half a century earlier than the works of Zhou Xiang and Xu Yongqing in Shanghai Tushanwan art gallery.

This painting adopts a broad sea view composition, and describes the scenery of Shanghai Waitan in detail. It can be said that it is "as subtle as possible, to the vast". There are few historical records about Zhou Gua's life. It can be seen from this painting that Zhou Gua's painting level is really extraordinary, otherwise it is difficult to have the courage to go to the beach alone.

Research on porcelain making

Author: Anonymous

1810-1820

Cloth oil paint

46.4 × 60.5cm

With the development of tea trade between China and the west, the daily porcelain produced in China is also popular in Europe and America. In Tao Shuo written by Zhu Yan of the Qing Dynasty, it is recorded that "in May of the eighth year of the Qianlong reign of the Qing Dynasty, wailang, a member of the internal affairs government, was in charge of the affairs of Jiujiang pass. Tang Ying was ordered by the internal government to hand over 20 pieces of pottery drawings, which were compiled in the second order and presented to the emperor for illustration." At the beginning of the 19th century, oil paintings depicting porcelain making were more novel than traditional pottery paintings. Influenced by the composition of Western copperplate landscape painting, the painter combines the beautiful rural scenery with the realistic porcelain making plot. The composition of the picture revolves around the activities of the two groups of characters. In the foreground, two workers are carrying and grinding white porcelain stones. In the middle view, three workers are drying white brick clay under the grass Pavilion. According to Tao Ye Tu Shuo compiled by Tang Ying, after the collection of porcelain and stone, "the natives set up rotation pestles by streams, pounding and cleaning, and making them like bricks." It can be seen that the scene in the painting is consistent with the record.

Scenic spots of Guangzhou commercial Museum area

Author: Lin Gua

1840

Light ink watercolor

36.7 × 57.1cm

This painting is a light ink port painting in shishanhang commercial area of Guangzhou, which is rare in the world. Shishanxing commercial area in Guangzhou is a place where Western businessmen and officials live and store goods. Before the Opium War in 1840, Guangzhou was a port for China's foreign trade and a window for European and American countries to understand China.

This work shows the scenery along the Pearl River, which is full of Chinese and Western sentiment and unique scenery. There are dozens of Chinese merchant ships of different sizes in the waters of the commercial Museum area, either berthing on the shore or passing through the harbor. A busy trade scene arises spontaneously. The painter uses perspective method to process the port in the middle and lower part of the picture, so that the viewer's point of view is focused and the composition is compact. Throughout the whole work, the scene is grand, the scenery is numerous, the gathering and scattering are caused, the light and shade change, and the strokes are natural and fluent. (< I from the official website collection of Yinchuan Contemporary Art Museum < / I)

Special exhibition

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Chinese PinYin : Yin Chuan Dang Dai Mei Shu Guan