A glorious and immortal name. ** He is not only an outstanding politician, military strategist, and diplomat in the first generation of the leadership of the Communist Party of China, but also a versatile Marxist literary theorist who is familiar with the laws of art. He has made outstanding leadership in literary and artistic work, and his influence has penetrated into all aspects of the development of modern art in China.
Noble character, one person through the ages. Today is the 126th anniversary of the birth of the Prime Minister, let us remember this good prime minister who has dedicated his life to the country and the people through the tip of the iceberg of his great contribution to Chinese art!
This article is excerpted from the 201807 th issue of People's Artist magazine, and the content has been deleted.
1973, Photographer in Meditation ***: Giorgio Lodi).
After the outbreak of the War of Resistance Against Japanese Aggression, a great deal of work was done in order to quickly and promptly transfer the literary and artistic work to the track of serving the War of Resistance against Japanese Aggression and National Liberation. He has always been concerned about the Anti-Japanese War Art Movement, which is particularly prominent in his care for artists. He met many times with progressive artists and taught them constantly.
On June 12, 1938, the "All-China Woodcarving Association to Resist the Enemy" was announced, which was the first "legal" national woodcarving organization. At the inaugural meeting, ** and Guo Moruo sent Tian Han as a representative to attend. In order to support the work of the Woodcarving Association, he also specially brought the woodcarvings from the liberated areas from Yan'an and handed them over to the Woodcarving Association for exhibition, and through various channels, sent China's progressive woodcarvings to the international exhibition.
In the spring of 1938, some staff members of the Third Department of the Political Department of the National Military Commission took a group photo (the fourth from the left in the front row is *** and the fifth from the left is Guo Moruo).
With the advent of the stalemate stage of the Anti-Japanese War, how to break through the cultural high-pressure policy of the Kuomintang at that time was a major problem to be solved at that time. Once, ** proposed at a meeting of the cultural group of the Southern Bureau: "Chongqing, a 'dead city', has overwhelmed the people, and we must find a way to break through it in the face of the Kuomintang's suppression and blockade." He also pointed out: "Among the various forms of literature and art, woodcut is relatively easy to combine with real struggles, can directly communicate with the masses, and is easy to disseminate, and has a greater influence." ”
At that time, the "War Youth" magazine edited by Yuan Zhongang and Zheng Daigong of the Youth Committee of the Southern Bureau had to publish Wang Qi's woodcut works on the cover of each issue. Wang Qi recalled in the article "Unforgettable Remembrance": "At that time, I made the cover woodcuts for each issue of the magazine, and the comrades in charge of the magazine often conveyed to me the premier's opinions on those woodcut works, which gave me great encouragement and encouragement. As a young art apprentice, how can I not feel extremely happy to be able to listen to the kind teachings of such a great party leader? The prime minister also asked them to tell me that they wanted me to provide more woodcut works for "Xinhua **", and I have always regarded the premier's instructions as an unshirkable and honorable obligation. ”
Wang Qi, "The Banner of Battle", black and white woodcut.
In 1945, shortly after the end of the "Woodcut Exhibition", ** met with some exhibitors in the Lotus Pond (Xinhua**) visiting department. As soon as he entered the room, he shook hands with each comrade with a smile and sat down to talk to everyone. He asked very carefully about everyone's work and life, and asked everyone if they had any difficulties. ** Affirmed the efforts of woodcarvers in the nationalized areas, and pointed out the key problem in the woodcarving movement at that time - woodcarving had not yet spread to the masses of workers and peasants.
In 1946, the "China Woodcut Research Association" moved to Shanghai and was renamed the "All-China Woodcut Association". In September of the same year, the "Eight Years of Anti-Japanese War Woodcut Exhibition" was held in Shanghai. Shortly after the closing of the exhibition, ** met with Li Hua, Chen Yanqiao, Yefu and others, the heads of the National Woodcarving Association, affirmed the great achievements and influence of the "Eight Years of Anti-Japanese War Woodcut Exhibition", believed that this was a new climax of the woodcut movement, and emphasized the importance of serial woodcuts, and made important instructions on the ways and strategies of future work.
In 1946, ** in Meiyuan New Village, Nanjing.
In 1951, the People's Fine Arts Publishing House, the first art publishing house directly under the country, was established, and the name of the company was inscribed. Subsequently, local art publishing houses were established, which also continued to use this title; Fine Arts Magazine, the organ of the Chinese Artists Association, also used the word "fine arts" as its title from this title, which is still used today.
After preparation, the People's Fine Arts Publishing House soon set up a first-class editorial room, which was specifically responsible for Jiang Weipu. According to Jiang Weipu's recollections: "* has repeatedly taught that we must not forget the first two words 'people' and must serve the broad masses of the people. To develop China's leading cause: first, as *** said, adults should see, children should see, there is culture to see, and there is no culture to see; Second, it is necessary to build a cultural base as soon as possible, which is a matter that concerns the next generation, and this task is very heavy. ”
**Title: "People's Fine Arts Publishing House".
At that time, the People's Fine Arts Publishing House published a series of "I Want to Read", which reflected children's lives, "Water Margin", "The Story of the West Chamber", "Peacock Flying Southeast", etc., and "The Painting Biography of the Volunteer Army" with realistic themes. These *** publications are very popular with readers and have a great social impact, not only for children, but also for many young people and adults, and some are translated into foreign languages.
The "three years of economic difficulties" from 1959 to 1961, coupled with the influence of "leftist" ideas and "pompous style", caused a worrying situation in the publishing work. After the start of the "Cultural Revolution", the publishing work was greatly impacted, and the normal work almost came to a standstill. In 1970 and 1971, he met twice with the leading group of the publishing department (temporary publishing leading body). When asked about the publication of books for young people, he repeatedly asked the publishing units to resume business as soon as possible, and asked: Has anyone edited a "villain book"? The person in charge should grasp the *** work, new books should be published, and some good reprints should be selected in the past, and the problem of teenagers not having books to read must be solved!
**The inside page of "The Legend of the West Chamber".
Faced with this situation, a national symposium on publishing work was held on March 15, 1971. On April 12, ** met with the leading members of the meeting and some representatives (more than 30 people in total), he said with a kind smile and eyes full of encouragement and expectation: "You have all been impacted, right? It doesn't matter if you are impacted, you have made a mistake in the route, just recognize and change it. You have to stand up and work, you are all party members, now the masses have no books to read, children have no books to read, the task is urgent! If you don't do it, who will do it......”
During this meeting, according to the spirit of the speech, the People's Fine Arts Publishing House reported a number of reprinted topics to the meeting. After the meeting, the staff worked day and night, first sorted out and reprinted a number of excellent works, and then organized the compilation and painting of a number of new works, such as "Huang Jiguang", "Yang Gensi", "A Silver Dollar", "Sunny Day", "Cotai Avenue", "Red Flag Canal", "Lenin in 1918", "Iron Man Wang Jinxi", "Song of the Proletariat" ......Some of his works, which have a print run of millions of copies, such as "How Steel is Made", "Chicken Feather Letter" and "The Biography of Yue Fei", are in short supply, and there are long queues in front of bookstores almost every day. Under the care of ***, the "** newspaper", which had been suspended for many years, officially resumed publication in October 1973.
**Cover of "Chicken Feather Letter".
On April 28, 1956, at the enlarged meeting of the Politburo, the policy of "let a hundred flowers bloom and a hundred schools of thought contend" was proposed. Against this background, on June 1, 1956, he presided over the State Council and made a decision on the establishment of a Chinese painting academy in Beijing and Shanghai. On May 14, 1957, the Beijing Academy of Chinese Painting was officially established. ** personally delivered a congratulatory speech and made an important speech.
In his speech, he first talked about the name of the art academy. At that time, some people once proposed that the name of the academy should be called "Beijing Academy of Chinese Painting", in an attempt to make the academy "a family in the world". *-for-tat proposed that it should be called "Beijing Chinese Painting Academy", he said: "I don't agree with the idea of 'Chinese Painting Academy' because I feel that it has the idea of dominating it. For example, we call industrial products 'domestic', which is different from foreign-made products, but art is not like this, except for Chinese painting, there are other types of paintings, and one type of painting cannot be used to represent the country. You can't 'just have one and no semicolon'. ”
**Speech at the inaugural meeting of the Chinese Painting Academy in Beijing.
** Earnestly admonished the art world to strengthen unity and adhere to the direction of literature and art serving the workers, peasants and soldiers. He instructed the art workers attending the conference to unite well in accordance with the formula of "unity-criticism-unity" and "serve the people, first of all, the workers, peasants and soldiers." He also said that we advocate internal unity, not to cancel ourselves, but on the contrary - to strengthen ourselves. Only those who have self-confidence recognize the strengths of others, and those who do not have self-confidence blindly deny others.
In his speech, he repeatedly encouraged the majority of art workers to "work hard to create", "we must first clarify who creates and who serves", and repeatedly emphasized that "the question of why people is a fundamental question and a matter of principle". He also exhorted efforts to train young people, and to educate young people to think of difficulties when they are happy, to overcome difficulties, to study hard, and to endure hardships and stand hard work.
In 1956, ** had a cordial conversation with Qi Baishi.
In response to the inheritance of tradition in Chinese painting, ** also made clear instructions: "To absorb tradition, it is not necessary to absorb everything, but to criticize and accept, and to identify." He fervently hoped that the art world would "strengthen research, constantly improve, and surpass its predecessors." * At the end of the speech, he emphasized: "Let a hundred flowers bloom and all the beauty should compete for beauty." All schools of painting should let it go, and only in the long-term test can it be decided whether it is beautiful or not. In short, we must strive for the creation of new art in socialist China! ”
In the process of the development of art in New China, he not only stood at the height of a national leader, advocated that art creation should serve the people, and always adhered to the direction of literature and art serving the people and socialist construction, but also upheld the character of a scholar, paying attention to tradition and carrying forward the essence, so as to achieve the cultural prosperity of "a hundred flowers contending and a hundred schools of thought blooming".
** In speech.
ENDS).