[2025 Beijing Attraction] Travel Guide for National Art Museum of China(Namoc) (Updated May)

May Fourth Street Fall Viewing Route: Peking University Red Building: A famous red tourist spot, the red walls and brick buildings are even more solemn against the golden leaves, making it a great place for photos. Lao She Memorial Hall: Known as the "Dan Shi Xiaoyuan", the persimmon tree planted by Lao She in 1953 is now full of fruit, making it a great place to experience the fall described by Lao She. National Art Museum of China: Adjacent to the Peking University Red Building, the exhibitions inside are all masterpieces, allowing you to enjoy the fall and art at the same time. Imperial City Root Ruins Park: An open park with good greening. Walking from north to south, you can feel the strong autumn atmosphere. Forbidden City Corner Tower: A classic beauty, very photogenic, and one of the classic photos of the Forbidden City. Jingshan: Looking at the Forbidden City and the sunset from Wanchun Pavilion makes people feel nostalgic and emotional. Fall Viewing Time: Best fall viewing period: Mid to late October each year, when the leaves on May Fourth Street turn yellow first, full of autumn. Photo Suggestions: It is recommended to take photos of the Peking University Red Building from across the street, including the golden leaves and red building in the lens. You can capture the moment when the leaves fall with the wind in the Imperial City Root Ruins Park to add a sense of dynamics to the picture.

Ssu Ssu is a famous Southeast Asian restaurant in Beijing. Especially the Vietnamese rice noodles and salads are so delicious. The spices filled my mouth I was so happy . . . #CoupleTravel #DateCourse #SummerCapture

With the majestic Longshan mountains and the distant camel bells, the light and shadow of Gansu reflect the colorful memories of Chinese civilization, presenting a gorgeous picture of painting and sculpture. The exhibition is held on the third floor of the National Art Museum of China and will end in mid-June.

In Beijing, a city steeped in history and vibrant culture, the National Art Museum of China stands as a radiant gem, drawing art enthusiasts and dream seekers from all over the world. I had the privilege of stepping into this temple of art and embarking on a soul-stirring journey, and I am eager to share this unforgettable experience. As you step through the grand entrance of the National Art Museum of China, you are greeted by a spacious and luminous hall. The towering ceiling resembles the vast sky, adorned with exquisite chandeliers that sparkle like stars. Soft lighting bathes every corner of the hall, creating an atmosphere of mystery and elegance. The polished marble floors gleam like mirrors, reflecting the artworks displayed on the walls, making you feel as though you are wandering through a galaxy of art. The hall's decor is breathtaking, with every detail showcasing meticulous craftsmanship. The wall-mounted paintings, sculptures, and other artistic decorations all exude exceptional artistry and profound cultural heritage. Each piece seems to narrate its own story, guiding visitors into a fantastical world of art. Entering the exhibition halls feels like stepping into a time tunnel, traversing through history and exploring the evolution of art from around the world. From ancient Chinese traditional paintings, calligraphy, and sculptures to modern oil paintings, watercolors, and installation art; from Chinese landscapes and floral motifs to Western portraits and landscapes, the variety of artworks is dazzling and comprehensive. Among them, ancient Chinese artworks shine like a brilliant galaxy, illuminating the history of artistic development. The exquisite calligraphy and paintings, whether free-spirited and flowing or steady and profound, reflect the refined tastes and superb skills of ancient scholars and artists. The rustic sculptures, with their vivid forms and deep meanings, reveal the cultural and spiritual essence of ancient society. In the modern art section, innovative and unique artistic forms captivate the eye. Installation art, with its grand scale and striking visual effects, showcases the powerful impact of contemporary art. Meanwhile, oil and watercolor paintings blend traditional techniques with modern aesthetics, expressing artists' unique perceptions and interpretations of life. Beyond the diverse array of artworks, the museum's presentation methods are equally remarkable. Advanced multimedia technology and interactive displays transform visitors from mere spectators into active participants in the artistic experience. For instance, in certain installation art areas, visitors can interact with the pieces through their movements or voices, experiencing the seamless fusion of technology and art. This novel approach to engagement is both immersive and exhilarating. At the National Art Museum of China, you not only get to admire world-class artworks but also enjoy exceptional service. The staff are warm and friendly, always greeting visitors with a smile. Throughout the visit, they are ready to answer questions, provide guidance, and offer assistance, making you feel as comfortable as if you were at home. With its rich collection, stunning displays, and outstanding service, the National Art Museum of China offers visitors an unforgettable artistic journey. If you are seeking a sanctuary of art amidst the bustling city, a place to experience the awe of beauty, then this temple of art is a must-visit.

Deyuelou Roast Duck Very greasy The vegetables are also fried very oily The noodles were tasteless and the sauce was not enough

Not in Dunhuang, but in Beijing! The new exhibition at the National Art Museum of China is incredibly stunning! Standing before the replica of "Dance and Music," a mural from Cave 220 of the Mogao Caves in Dunhuang, I witnessed the grand lantern festival from a thousand years ago. It's a vivid depiction of the "tens of thousands of lamps gathering for the spring festival." 🎈The "Dance and Music" mural in Cave 220 of the Mogao Caves is a masterpiece from the early Tang Dynasty (around the 7th century AD). Located on the south wall of the cave, it is renowned for its magnificent scenes, lively figures, and brilliant colors. It showcases the peak of Tang Dynasty music and dance art and serves as a precious testament to cultural exchange between East and West.

In March, a grand "Gansu Silk Road Art Treasures Exhibition" was held at the National Art Museum of China. This exhibition was like a window to history, attracting the attention of countless visitors. The exhibition is divided into two parts: "Painting and Sculpture" and "Books and Carvings". The exhibits are rich, including painted pottery, bamboo slips, silk books and various sculptures. This is not only an artistic display, but also a tracing of history, conveying ancient culture to every audience through a modern perspective. "Painting and Sculpture in Tongguang" focuses on the sculpture and painting art of Gansu, especially showing the vivid portrayal of human and animal images. These exquisite portrayals seem to make various people and animals walk out of history, full of rich cultural connotations. The sculptures and paintings in this exhibition area complement each other, and the experiencer feels like walking in the long river of history. In this part of the exhibition, there are also copies of works by many artists on display. They went to Dunhuang and copied the Dunhuang murals, making positive contributions to the protection and preservation of Dunhuang art. These artists absorb the essence of traditional culture and create many works of art with a modern feel. The "Listening to the sermon" copied by artist Han Leran from Mogao Grottoes is a continuation and inheritance of ancient art, integrating the expressive language of modern art to make the work more expressive. This exhibition has many highlights and is full of excitement. It will lead the audience into the Gansu Silk Road, feel the charm of the ancient Silk Road culture and art, and explore the unsolved mysteries of history. The "Painting and Sculpture in Tongguang" exhibition is located on the third floor of the National Art Museum of China and will last until June 3, 2025. Figure 2: Painted terracotta figurines leading horses Tang Dynasty, Collection of Gansu Museum Figure 3: Standing warrior figurines Tang Dynasty, Collection of Dunhuang Research Institute Figure 4: Heavenly King Figurines Tang Figure 5: Standing male figurine Northern Dynasties, Collection of Dunhuang Academy Figure 6: Ink-painted wooden dancing figurines Chinese Figure 7: Three-color female horseback terracotta warrior Tang Dynasty, Collection of Gansu Provincial Museum Figure 8: Painted wooden Liubo figurine Han Dynasty Collection of Gansu Provincial Museum Figure 9: Tang Dynasty Musicians in Dunhuang Murals Chinese Painting 1945 Author: Lu Shi Collection of National Art Museum of China Figure 10: Dunhuang Cave No. 84 Mural Painting Watercolor and pastel, 1943 Author: Wu Zuoren Collection of National Art Museum of China Figure 11: Copy of Cave 172 of Mogao Grottoes The Sutra of Contemplation of the Buddha of Infinite Life Chinese Painting 1946 Author: Chang Shana Collection of National Art Museum of China Figure 12: Sketch of Listening to the Sermon (Begging for Alms) Mogao Grottoes Cave 257 Oil painting 1946 Author: Han Lecai Collection of National Art Museum of China Figure 13: (Left) Brick carving of a sheng (a Chinese sheng instrument) Liao Dynasty, Gansu Provincial Museum (Right) Carved brick with female figures Liao Dynasty, Gansu Provincial Museum Figure 14: Woodcarved horse head Han Dynasty Collection of Gansu Provincial Museum Figure 15: The brick with a portrait of a filial son weeping at a funeral Song Dynasty, Collection of Gansu Provincial Museum Figure 16: Cave 329 of Mogao Grottoes Lotus Flying Caisson Author: Shi Weixiang Dunhuang Academy Collection Figure 17: (right) The phoenix brick on the left Five Dynasties, Collection of Dunhuang Research Institute (Left) Flying dragon brick on the left Five Dynasties, Collection of Dunhuang Research Institute Figure 18: Copy of Cave 243 of Mogao Grottoes Northern Wei Dynasty murals (Cave 257) Author: Lu is Chinese Painting 1942 Collection of National Art Museum of China Figure 19: Standing Bodhisattva Tang Dynasty, Collection of Dunhuang Research Institute Address: National Art Museum of China No. 1, Wusi Street, Dongcheng District, Beijing Opening hours: 9:00-17:00 (No admission after 16:00) Closed on Mondays

#discoverchina #beijing Beijing in winter exudes a charming temperature. With red walls, green tiles and jade dragon caissons, strolling along the shore of Shichahai, you can feel the passage of time. The feeling of déjà vu makes people feel that it is okay. We have met and parted in different ways, and look forward to the next reunion.

Happiness takes many forms. It is a splendid symphony woven from material abundance and spiritual richness. It is a heartwarming story of personal struggle and social progress complementing each other. It is a beautiful expectation of present joys and future aspirations going hand in hand… The vigorous development of Chinese society, like a powerful brush, outlines the increasingly rich contours of our happy lives. Under society's delicate brushstrokes, those of us living today have jointly painted a colorful picture full of vitality and warmth… ⏰Exhibition Dates | Jan 21, 2025–Apr 8, 2025 🌴Venue | Halls 5, 7, and 11, National Art Museum of China

If you come to Beijing, I highly recommend you visit this place! Namely: The National Art Museum of China! Rich artistic atmosphere! Masterpieces on display! Free admission! Wonderful exhibitions every time! World-class exhibits from Qi Baishi, Xu Beihong, Picasso, and others! Every visit here is a feast for the eyes! Accurate map navigation! Transportation: It is recommended to take a taxi or subway to National Art Museum station! Make sure to book online in advance!

With the arrival of the Year of the Snake, the National Art Museum of China held the "Auspicious New Year—Snake-Themed Art Exhibition at the National Art Museum of China." The exhibition presents a diverse range of snake imagery in various art forms, including Chinese paintings, couplets, New Year pictures, paper-cuts, shadow puppets, toys, masks, and embroidery, all imbued with rich and auspicious meanings. Snakes in Chinese folk art possess profound cultural connotations. As an auspicious symbol in Chinese culture, the snake is both majestic and mysterious, yet also playful and intriguing. Its shedding of skin represents the cycle and leap of life, its agility symbolizes flexibility and insight, and its ability to conceal itself embodies the wisdom of "containment." Even Nüwa and Fuxi, the ancestral figures of the Chinese nation, are depicted as half-human, half-snake beings. The "snake coiling around a rabbit" motif, commonly found in paper-cuts, has been popular for many years. The "coiling snake" originates from the Taosi culture of the Neolithic period. Its swirling form derives from ancient observations of celestial movements and the laws of the universe, serving as a symbolic expression of the Chinese traditional worldview, representing the harmony of yin and yang, the creation of all things, and the endless cycle of life. When combined with the "rabbit," a symbol of abundant offspring and prosperity, it signifies the love and protection bestowed upon future generations. The image of a snake is an image of lines; the movement of a snake is like the flow of lines in calligraphy; the lines in painting and calligraphy also meander like a snake. Expressions such as "the brush moves like a dragon and snake," "shaped like a dragon and snake," "smoke and clouds like dragons and snakes," and "as swift as a startled snake" all vividly depict the unrestrained spirit and radiant energy, showcasing the undulating power and rhythm that stretches endlessly...

This is the National Art Museum in Beijing, China. I think the beginning of things is a painting. I believe that the beginning of the birth of life is nature. I also saw works with harmonious colors. I felt thoughts and nature by looking at calligraphy and landscapes. It seems to be a folk painting depicting the lives of the people. #China #Beijing #China travel #travel plan #January travel subsidy event

Address: National Art Museum of China, Halls 1, 8, and 9 Dates: January 21–April 8, 2025 The Five Great Mountains are five sacred mountains in Chinese culture: Mount Tai, Mount Hua, Mount Heng (Hunan), Mount Heng (Shanxi), and Mount Song. The National Art Museum of China has dedicated three halls to this exhibition, which includes calligraphy and art. The works on display are varied in style and medium, and visitors will be able to appreciate the unique charm and history of the Five Great Mountains.

Animals are the spirits of nature. Over the long years, they have been closely related to human life and have become an endless source of artistic creation. Among them, animal sculptures have a long history and have a charm that transcends time and space and strikes the heart. From ancient primitive sculptures to grand works in ancient civilizations to diverse creations in modern society, animal sculptures have always attracted people's attention with their vivid postures and rich connotations, carrying people's observation, understanding, and awe of animals. They are not only a reproduction of animal forms but also an important carrier for expressing thoughts, emotions, and aesthetic concepts, and have thus become an important artistic expression in the process of human civilization. Artists use sculptures to call on people to respect life, cherish nature, and advocate harmonious coexistence between humans and nature. This animal-themed exhibition at the National Art Museum of China is a spiritual touch and inspiration for the audience. It allows the audience to stop in their busy lives and re-examine the close connection between humans and animals and humans and nature. It allows the audience to find their own touch and gain among these sculptures and truly appreciate the meaning of "beauty in life." Venue: Kaichu Hall, National Art Museum of China Opening hours: 9:00–17:00 (Last entry at 16:00) Closed on Mondays

The Four Seasons of Fun exhibition held at the National Art Museum of China before the Spring Festival attracts many visitors. This exhibition is part of the National Art Museum of China's "Collection Activation" series, featuring nearly 200 pieces (sets) of folk art from the museum's collection. The exhibition is divided into four sections: "Prayers and Fun," "Life and Fun," "Childhood and Fun," and "Education and Fun," to interpret the aesthetic context of "Four Seasons of Fun." Wu Weishan, director of the National Art Museum of China, said that Chinese folk art is full of the aesthetic qualities of "play" and "fun." The combination of "play" and "fun" expresses a philosophy of life, reminding people to pursue a meaningful and valuable lifestyle and life goals, and to constantly seek and discover the joys and beauty of life. Rooted in the soil of agricultural culture, Chinese folk art is not only a reflection of the aesthetics of folk culture, but also a reflection of the spirit of life of the Chinese people living in harmony with nature. Traditional Chinese culture emphasizes the unity of man and nature, and advocates the harmonious unity of man and nature. Similarly, in the world of Chinese folk art, whether in the sky or on the ground, past or future, macro or micro, all things can be intertwined and integrated, following the order of the four seasons, embracing the beauty of heaven and earth, and full of the creative passion of artisans. These folk art works are not only the personal aesthetic practice of the artisans, but also bring warmth and joy to people, making the long-standing folk aesthetics of China thrive and remain vibrant on this land.

The National Art Museum of China held an art exhibition on the theme of the Year of the Snake titled “Auspicious New Year” on the first floor. As soon as you enter the door, you will see a large area of ​​Chinese red, a scene of prosperity! The exhibition includes Sui Ci Shan dance couplets, Nuo opera masks of the snake god, Manchu embroidered pillow tops with snake and bird patterns, paper-cuts of snakes and rabbits, lizard toys, painted sculptures of the Legend of the White Snake, white snake shadow puppets, etc. There are many kinds of things on display, and all kinds of folk items containing snake elements have been collected. There is an introduction on the wall that since ancient times, snakes have been revered and worshipped as animal gods by people. "Snake coiled around rabbit, generations of wealth." This pattern contains profound cultural connotations and the symbolic meaning of the animal totem of a snake holding a frog. All in all, these are people's worship of nature and blessings for a better life. I would like to take this opportunity to wish you all a happy new year in advance! May all go well with you! May you have surplus every year!

Address: 5th Floor, National Art Museum of China This is my second time seeing this exhibition. Today, I was lucky enough to listen to a teacher's explanation, so I looked at it more carefully. The first thing I saw was Chen Rui's cockscomb flower, painted with a flat technique, with only the veins of the leaves outlined with a few strokes, capturing the characteristics of the cockscomb flower. The banana tree is painted boldly, with ink dripping. Wu Ruilong's long scroll features double-petaled peonies in varying shades. At first glance, I thought they were chrysanthemums, which would probably bring the painter back to life. Hahaha. The peony leaves are painted naturally and with a sense of depth. In the Guangdong collection, I mainly looked at two landscape and bamboo stone fans by Wen Zhengming, who probably inherited the painting genes of his mother, Qi Shoudan. The colors are elegant, and the brushwork is delicate. Wen Zhengming's disciple Qian Gu's work, "Shangfang Temple Scroll," is a copy of Wen Zhengming's original, depicting the rolling hills of Shangfang Mountain, the majestic Zhiping Temple (Shangfang Temple), and the vast Shihu Lake from a bird's-eye view. The teacher explained the painting technique in detail, which is roughly to use azurite, malachite, and ochre to create a gradient, then outline the contours of the rocks with lines, and finally add fine dots, showing the achievements of Ming Dynasty blue and green landscapes in combining ink outlines and blue and green gradients. There is also Wen Jia's "Lin Quan Gao Yi Scroll," which inherits his father's painting style well. Qiu Ying's "Listening to the Qin and Ruan Scroll" depicts the imagined scene of Ji Kang playing the qin and Ruan Xian playing the ruan among the Seven Sages of the Bamboo Grove. 2024 marks the 1800th anniversary of Ji Kang's birth. What a clever arrangement, this exhibition is so thoughtful! I won't say much more, friends who like it can go and enjoy it when they have time.

Huang Huasan, male, born in Beijing in 1966. Professor, doctoral supervisor, member of the Academic Committee of Renmin University of China, and director of the Academic Committee of the School of Arts; member of the Teaching Steering Committee of Fine Arts of the Ministry of Education; director of the China Artists Association, deputy director of the Art Education Committee, and member of the National Major Theme Creation Art Committee; researcher of the China National Academy of Painting; vice chairman of the Beijing Artists Association. Huang Huasan's ink portraits are a fusion of Chinese and Western styles, with distinct characteristics. His creations pursue the combination of Chinese-style poetry and painting, and each work is conceived from the imagination of classical literati poetry, but when he starts to paint, he naturally expresses the fusion of the freehand style of Chinese painting and the expressive style of Western modern painting. His works give people a sense of vast space, like the "carefree" travel advocated in Laozi and Zhuangzi's philosophy, which is based on the longing for nature and freedom. The spiritual state of the characters is not in the secular real life, but in the vast universe. From this, we can see his artistic pursuit of seeing the big picture and seeing the big from the small. Thanks to his experience in both Chinese traditional and Western modern art education, Huang Huasan is able to grasp the overall structure of the picture when he starts to paint, and even start from the abstract structure and then move on to the specific depiction. This modeling method is quite intriguing, as it is an artistic technique of seeing the big from the small and controlling the local from the whole in artistic expression. In Huang Huasan's works, the audience can also see the organic combination of ink and color, which is also a reflection of his absorption of Chinese and Western painting art. In the picture dominated by ink, he boldly uses color, especially the fusion and breaking of color and ink. This courage to use color and the feeling of controlling the tone of the picture are in line with the characteristics of Western expressive painting, which naturally, vividly, and harmoniously flow in his works.

It's worth seeing. The exhibition covers oil paintings, Chinese paintings, prints, and sculptures. You can linger among these works of art, appreciate works of different styles, and savor the creations of artists. There may be some misunderstandings, but art is all about different interpretations. I have gained a lot.

Geng Defa was born in Lanling, Shandong in 1986. He is the vice dean of the School of Fine Arts at Sichuan Fine Arts Institute, director of the Department of Oil Painting, associate professor, and master's supervisor. He holds a PhD from the College of Fine Arts at Shanghai University. He is a member of the China Artists Association and the China Oil Painting Society. This exhibition showcases Geng Defa's representative works in recent years with the theme of "mountains and seas". The most direct motivation for using "mountains and seas" as the theme of his paintings comes from the artist's childhood memories. In most of his works, the artist uses coastal landscapes as the subject, creating a visual field with the tranquility of the night sky and the boundless sea, the creamy beach, the continuous distant mountains, and the winding horizon, to express the poetry and romance, magnificence and profundity of the seascape. The distant cityscape, the drifting stars in the sky, the irregular shells and gravel in the foreground, and the footprints left by people on the beach, all create a unique "no man's land". However, once the audience gazes at these images, they will find traces of life everywhere in these landscapes.

What is national-level aesthetics? It is absolutely trustworthy! If you are traveling to Beijing and cannot make a reservation for the National Museum of China, don't miss the China National Arts and Crafts Museum. National-level aesthetics are absolutely trustworthy! Here is a super practical guide for you: 1️⃣ The China National Arts and Crafts Museum and the China Intangible Cultural Heritage Museum are in the same venue. The exhibits include ceramics, jade carvings, wood carvings, stone carvings, cloisonné, embroidery, brocade, and many other categories. Each piece demonstrates the national-level exquisite craftsmanship, which is amazing. 2️⃣ When visiting, it is strongly recommended to go to the 5th and 4th floors first. These two floors are full of exquisite exhibits and are very worth seeing. After visiting these two floors, if you still have enough time and energy, you can explore other floors. Usually, it takes about 3 to 4 hours to visit the entire venue. 3️⃣ Compared with other popular museums in Beijing, it is relatively easy to make a reservation for the China National Arts and Crafts Museum, which provides more opportunities for everyone to appreciate the art treasures up close. 4️⃣ Take the subway to Olympic Park Station. After leaving the station, you will be pleasantly surprised to find that the museum is not far from the Bird's Nest. You can easily walk there and enjoy the surrounding city scenery along the way. 5️⃣ The museum is open from 9:00 to 17:00, but please note that ticket inspection stops at 16:00, and it is closed every Monday. Arrange your time reasonably so that you don't miss this art feast. 6️⃣ There is a café on the first floor of the museum, where you can take a break and enjoy a drink during the exhibition. There is also a surprise - you can get free stamps. There are 9 free stamps waiting for you to collect, leaving a unique souvenir for your visit. 7️⃣ The museum is equipped with free lockers for you to store your personal belongings. At the same time, don't forget to bring drinking water with you, and replenish water in time during the exhibition to keep in good condition.

There is an exhibition at the National Art Museum of China that leaves a deep impression on the audience, and that is the "Remembrance and Longing: Wang Xuegong's Works Exhibition." Wang Xuegong was born in 1951 in Gongzhuling City, Jilin Province, and graduated from the Department of Fine Arts at Northeast Normal University. He furthered his studies at the Central Academy of Fine Arts. He is currently a member of the China Artists Association, a member of the Chinese Poetry Society, and a visiting professor at the School of Art, Jilin University. He has served as a distinguished professor and mentor for the oil painting advanced research class at the School of Art, Renmin University of China, and a mentor for the advanced research class at the Academy of Arts & Design, Tsinghua University. He was also the former dean of the Oil Painting Institute of the Xu Beihong Art Academy of the Overseas Chinese Federation of the Ministry of Culture. Wang Xuegong's works have been exhibited and awarded multiple times, and he has published several collections of his works. In Wang Xuegong's painting creations, the artist has a special fondness for rural themes. In Wang Xuegong's own words: For many years, I have been searching and exploring my artistic path. After traveling far and wide, I finally discovered that what continuously ignites my creative passion is still my hometown—the northern countryside. It is this sentiment that drives Wang Xuegong's brush, expressing his childhood memories, his nostalgia and attachment to his hometown, his experiences of life, and his praise for the great rivers and mountains of the motherland and the beautiful life. By appreciating Wang Xuegong's works, the audience will gain a deeper understanding of the customs and culture of the northern countryside. Each of the artist's paintings tells a story of the northern countryside, a story that feels warm and believable. This is the charm of Wang Xuegong's works.

A recent exhibition of plum blossom paintings has attracted attention. The exhibition features plum blossom paintings from the collection of the National Art Museum of China. Since ancient times, plum blossoms have been favored by literati and scholars. During the Five Dynasties and Ten Kingdoms period, Xu Xi of the Southern Tang Dynasty painted a scroll of plum blossoms, and Teng Changyou of the Former Shu and Huang Quan of the Later Shu painted plum blossoms using the outline and fill method. In the Song Dynasty, Chen Chang used the feibai method to paint branches and stems and used color to paint flowers. Master Huaguang was good at painting ink plum blossoms, Ma Yuan painted plum blossoms with powder, and Yang Wujiao created the circle flower method, which was revered by later generations. Wang Mian of the Yuan Dynasty painted ink plum blossoms with thousands of stamens and flowers, creating his own style. In the Ming and Qing Dynasties, most plum blossom painters used ink and wash methods. In modern times, Wu Changshuo, Qi Baishi, and others changed the old methods, painting thick branches and large flowers with free strokes, creating a unique vitality. "A sharp sword is forged through grinding, and the fragrance of plum blossoms comes from the bitter cold." Plum blossoms symbolize the spirit of perseverance, progress, and pioneering. As the year comes to an end and spring approaches, the National Art Museum of China is exhibiting plum blossom paintings by famous artists such as Jin Nong, Li Fangying, Xu Gu, Wu Changshuo, and Qi Baishi. Through the different expressions of the artists, viewers can not only feel the clarity and purity of plum blossoms, but also appreciate their strong and unyielding character. These plum blossom paintings not only reflect the dynamic creative process of ancient literati and scholars in seeking plum blossoms, seeking truth, and comparing virtues, but also inspire and enlighten viewers, allowing them to appreciate the charm of traditional Chinese culture.

In the vast world of art, sculpture, with its unique form language and spatial expression, has become a bridge for artists to communicate with the times, carrying specific social emotions and historical values. The thematic creation of contemporary sculpture further reflects the social responsibility and cultural mission of art forms. The "National Thematic Art Creation Project" is a creation plan focusing on realistic themes after the "National Major Historical Theme Art Creation Project," aiming to reflect the social landscape and highlight the spirit of the times. As an important part of this project, the Sculpture Creation and Research Class has promoted the practice and innovation of young sculptors in the field of thematic sculpture since its establishment in 2017, following the creative concept of "going deep into life and rooting in the people." This class is not only a place for skill transmission but also a space for ideological collision and concept deepening. Here, young artists draw materials from life and explore values from history, comprehensively enhancing the ideological depth and humanistic care contained in their works. Through the special series of exhibitions planned and researched by the National Art Museum of China, the students of the Sculpture Creation and Research Class are exhibited in batches in the Kaiju Hall in groups of three, reporting their creative achievements while promoting interaction and learning among students. Shen Hongbiao, Li Xun, and Chen Jilong are the students launched in this issue, and their works have different characteristics. The audience can see the artistic progress of the three young sculptors of the new era in the exhibition and feel their exploration of nationality and the spirit of the times in their creations. This is the important value of sculptors' creations for today's society.

Mr. Cai Chao is a famous Chinese painter active in the Chinese art world and a representative figure of contemporary Chinese ink figure painting. In the 1970s, he emerged in the national art scene with his revolutionary historical figure paintings such as "Rural Survey"; in the 1980s, his ink paintings with the theme of educated youth and the people of the old revolutionary base area of Jinggangshan were selected for the National Art Exhibition many times and won awards; in the 1990s, his industrial-themed works were frequently produced and became famous in the art world, and he established his position in the creation of Chinese ink figure paintings in the 20th century. Since the new era, Mr. Cai Chao's creations have kept pace with the times and the country's "Belt and Road" development strategy, with more diverse themes and more profound brushwork, and his works have attracted much attention. This year marks Mr. Cai Chao's 80th birthday. In recognition of the artistic achievements of this famous painter who has been rooted in the people, rooted in real life, keeping pace with the times, and using his brush to praise the progress of the times and the happy life and spiritual style of contemporary people, the Jiangxi Provincial Party Committee Propaganda Department, the National Art Museum of China, the China Culture and Art Development Promotion Association, the China Academy of Fine Arts Association, the China National Academy of Painting, and the China Painting Society jointly held the "Time and Memory: Cai Chao Art Literature Exhibition" at the National Art Museum of China, which comprehensively showcases the ups and downs and fruitful achievements of Mr. Cai Chao's decades-long artistic journey. More than 60 representative large-scale works by Mr. Cai Chao and more than 160 art literature works, totaling more than 200 works, are on display. From these breathtaking works and art literature, we can see the indomitable spirit and style of a physically disabled but mentally strong people's artist who loves his country and people and strives to climb the peak of art.

Address: National Art Museum of China The National Art Museum of China changes exhibitions quickly, faster than I can write my reviews. Here are 3 exhibitions: The first is "Frost Leaves Like Flowers"—Wang Weiping's Flower and Bird Painting Exhibition, which ends on December 6. Based on the Wu School of Painting, it pursues the essential attributes of Chinese painting. In his paintings, flowers, plants, and trees are full of vitality. The second is "Heaven and Earth"—Liu Yajiang's Oil Painting Exhibition, which has ended. Two words: shocking! In his paintings, I saw the loneliness and expectation in the eyes of a young girl. The colorful splashes of water kicked up by galloping horses showed me a passionate, unrestrained soul! I spent most of my time at this exhibition. The third is "Ink and Culture"—Guangzhou Art Museum's Collection of Ming and Qing Dynasty Calligraphy and Painting Exhibition. It ends on February 16, 2025. On the fifth floor, it shows the development of Lingnan calligraphy and painting. If you're interested, hurry up.

Location: National Art Museum of China This year marks Mr. Cai's 80th birthday, and the National Art Museum of China held the Cai Chao Art Literature Exhibition to fully showcase the artist's artistic journey and achievements. The exhibition ended on November 22. The exhibition features works such as "People Who Do Not Want to Be Slaves" (1973) and "Spring Grassland Road" (2020). Mr. Cai's paintings have always kept pace with the times, active in various eras, and cover a wide range of subjects. They are not only a presentation of beauty, but also a way of life: optimism and strength. The exhibition includes a corridor that details Mr. Cai's timeline, as well as early comic strips, and even recreates the scene of Mr. Cai's early comic strip creation, which is impressive. From these works, we can see the unyielding spirit and style of a people's artist who loves his country and people.

In the development of Chinese oil painting in the 20th century, the expressiveness and imagery of artistic language, and the exploration of the attributes of oil painting itself, have always been one of the core topics of contemporary Chinese oil painting creation and research. Oil painter Wang Yanwen is a painter and traveler who has been persistent on this road. As an artist who has worked hard on the road of oil painting creation, Wang Yanwen graduated from the Oil Painting Department of the Central Academy of Fine Arts in his early years and studied under many teachers of the Central Academy of Fine Arts. In his later creative career, he traveled to Germany, Austria, Poland, the Netherlands, Russia and other countries for art exchanges, lectures and sketching activities, and many European oil painters who had close exchanges with him became friends with him. This can be felt from the portraits he painted for these exotic peers, which are full of intimacy and humor. In the course of many years of oil painting creation and research, he has taken the freehand style of oil painting and the imagery expression of artistic language as a consistent theme, which also makes the oil painting imagery characters and landscapes under his brush always full of pure and pure "writing" taste, immersed in a warm and sunny feeling. In his works, whether it is lush woods or vicissitudes of ancient castles, whether it is a clear blue sky or a gloomy dusk, between the figurative "form" and the invisible "meaning", he integrates the expression of light and color into the expression form of large color blocks and large brush strokes and the bold use of pure colors, and strengthens the texture and thickness of oil painting language with the stacking and smearing of jumping brush strokes, while also showing a unique thickness, roughness and heat of Northeast regional culture.

📍Attraction address: Huángmǐ Hutong is located in the west of the area, north of the National Art Museum of China. It is under the jurisdiction of Jingshan Subdistrict Office and is a dead-end alley running north to south. It starts from the back street of the National Art Museum of China in the north and is not accessible in the south. It is adjacent to Meishuguan East Street in the east and Donghuangchenggen North Street in the west. It is 196 meters long and 6 meters wide, with an asphalt road surface. 🚗Transportation: Shared bikes are convenient. 👍️Must-see attraction: Bànmǔ Garden in Huángmǐ Hutong, once a famous private garden in old Beijing. This was originally the residence and garden of Jiǎ Zhōngchéng (Hànfù), built by the early Qing Dynasty painter Lǐ Yú (Lìwēng). Lǐ Yú was assisted by the famous rockery expert Zhāng Liǎn (Nányuán) and his son. During the Daoguang period of the Qing Dynasty, the residence was acquired by Lín Qìng, who was the Governor of the River. After acquiring the residence, Lín Qìng renovated the residence, especially the garden, and renamed it "Bànmǔ Garden." During the Republic of China, the residence was owned by Qū Xuānyǐng, who renamed Bànmǔ Garden to "Zhǐ Garden." The garden has been demolished, and the six-sided brick screen door has been moved to the Cáo Xuěqín Memorial Hall in the Western Hills. 🎟️Tickets: No reservation or ticket required