In March, the Guangdong Soong Ching Ling Foundation's "Aesthetic Education Public Welfare Classroom" came to ASJ to conduct the 13th Scholars' Lecture, appreciating excellent sculptures and experiencing Guangdong Province's non-legacy projects to promote the excellent traditional Chinese culture.
Son of Pan He, born in Guangzhou, China in the 1960s, graduated from the Sculpture Department of Guangzhou Academy of Fine Arts in 1987, sculptor of Guangzhou Sculpture Institute, head of Pan He Sculpture Garden and Art Gallery of Guangzhou Academy of Fine Arts (curator). He is fully responsible for the preparation and operation and management of the art gallery of Pan He Sculpture Garden of Guangzhou Academy of Fine Arts, as well as assisting Prof. Pan He in his personal affairs, and he is a witness to the development of Pan He Sculpture Garden.
In the lecture, Prof. Pan Fen used a professional and aesthetic perspective to help students analyze the origin of each Pan He Sculpture Art Park work, the story behind it, and the far-reaching significance of the era.
Prof. Pan Fen briefly introduced the origin and design intention of Pan He Sculpture Garden to the students, and stated the background and story of the creation of Pan He's works from the development of China's history, and then analyzed the art and aesthetics of Pan He's famous red classic works from the selected works.
Prof. Pan Fen talked to the students about the city of Guangzhou, where two statues are the symbols of the city - the statue of the Five Rams and the statue of Liberation. The Liberation Statue is a huge 16-meter-high statue that towers over Haizhu Square, and through the years, it has been fully integrated into the background of Guangzhou people's lives. However, there are still many people who do not know that this statue, which seems to have a strong revolutionary color, is actually a huge seal. It uses time as a brocade bag, an unusually romantic way of hiding Pan He's message for a hundred years from now, quietly imprinted on the riverside a hundred years ago, waiting to be reopened.
During Prof. Pan's explanation, ASJ students gradually realized the beauty of the statues as well as the stories and connotations of each sculpture.
-Deputy Director of the Creation Research Base of the Ancient Village Research Committee of the Chinese Society for Anthropological and Ethnological Research
-Representative Inheritor of Chashan Chouyi Denggong Production Technique Nonheritage
Ms. Li introduced, Chashan Chouyi Denggong is the town of Dongguan City, Guangdong Province, Chashan Chouyi Denggong characteristics of traditional art crafts. This clay crafts wearing satin clothes can be traced back to the earliest Tang and Song dynasties, "Tanabata", "Begging for coincidence" customary clay toys - grinding and drinking music, with the North migrated south of Lingnan into a lineage of its own, originating in the late Song and early Yuan, developed in the Ming and Qing dynasties, flourished in the Republic of China. It has a history of more than 700 years, and it is one of the most popular clay toys in China. It has a history of more than 700 years, and is the best gift for the traditional "light" custom of Dongguan City in Guangdong Province and even the Pearl River Delta region. 2018, Chashan Chouyi Denggong was announced as the seventh batch of representative items of intangible cultural heritage in Guangdong Province.
Ms. Li said that the clay is the skeleton for making the Chashan Silk Cloth Lantern Gong. You need to roll the clay into an egg-shaped with a handle, face molding the five senses on the egg-shaped clay. Then, you need to roll the clay to create the shape of the human body movement, dig a groove at the neck, and combine the head handle with the groove to complete the skeleton of the doll. She led the ASJ students to make a clay sculpture of a snail family, learning how to build a skeleton for the Chashan Chouyi Denggong.
The sculpture and Chashan Chouyi Denggong are both excellent traditional cultures of the Chinese nation. Allowing ASJ students to perceive and experience the excellent traditional culture in the classroom is conducive to enhancing students' art appreciation and learning ability, as well as national pride and cultural confidence.
