UM holds exhibition showcasing masterpieces of ancient Chinese painting and demonstration works by modern masters
MACAU, September 1 - The ‘Exhibition of Masterpieces of Ancient Chinese Painting and Demonstration Works by Modern Masters’, jointly organised by the Centre for Chinese History and Culture (CCHC) and the Department of Fine Arts at the University of Macau (UM), is being held at the Exhibition Hall of the UM Cultural Building. Featuring more than 40 works across three thematic sections, the exhibition traces the historical development of Chinese painting and explores the relationship between ‘learning from ancient masters’ and ‘learning from nature’. All are welcome to visit.
Zhang Yan, director of CCHC, serves as chief curator of the exhibition, with Li Haihao, a doctoral student in the Department of Fine Arts, serving as curator. By bringing classic painting models and demonstration works by renowned masters to UM, the exhibition enriches teaching and research resources in fine arts. It also enables faculty and students to deepen their understanding of the cultural significance and historical development of traditional Chinese painting, giving the exhibition both academic and educational value. As a pivotal hub for Chinese-Western cultural exchange, Macao plays an important role in promoting Chinese cultural heritage. The exhibition provides faculty and students with valuable opportunities to study traditional ink painting, while offering the general public an accessible way to learn about the development of traditional Chinese painting, thereby enhancing public appreciation of, and confidence in, traditional Chinese culture.
The first section, ‘Paradigms of the Song and Yuan Dynasties: The Golden Age of Chinese Landscape Painting’, features reproductions of works by leading artists in the Song and Yuan dynasties, including Fan Kuan, Li Cheng, Guo Xi, Huang Gongwang, Wang Meng, and Ni Zan. Song landscape painting reflects the principle of learning from nature while drawing on the inner wellspring of the mind, integrating the natural order with humanistic ideals. Yuan painting, by contrast, is more introspective, using restrained brushwork to express literati ideals and spiritual pursuits. Representative works on display include A Thousand Li of Rivers and Mountains, Dwelling in the Fuchun Mountains, and Early Spring, which illustrate the aesthetic paradigms and spiritual foundations of classical Chinese landscape painting.
The second section, ‘The Li School Landscape Style: Li Keran’s Sketching and Artistic Innovation’, examines Li Keran’s modern artistic practice. Guided by his well-known maxim, ‘Master the tradition with all your might, then break new ground with all your light’, Li advanced traditional ink painting by incorporating Western techniques of light and shadow. His representative works Meissen Church and Dresden at Dusk feature layered ink tones and structured compositions, establishing a new visual language for modern Chinese landscape sketching.
The third section, ‘A Giant of Lingnan: Guan Shanyue’s World of Brush and Ink’, presents works by Guan Shanyue, including Villages in Liling, as well as his broader artistic practice. Guan upheld the principle of blending Eastern and Western perspectives and integrating past and present techniques. He emphasised field sketching from life and creatively transformed classical painting traditions. His sketches of Liling exemplify his artistic approach and provide valuable references for contemporary painting education and the modern development of Chinese art.
Arranged chronologically, the three sections present the development of Chinese painting from classical inheritance to modern innovation. The exhibition is taking place at the Exhibition Hall of the Cultural Building (E34-G016) at UM. It is open from 10:00am to 6:00pm until 30 September, except on Saturdays, Sundays, and public holidays. Admission is free.
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