Zhou Xianglin

November 12, 1969 - Kaifeng《1969年11月12日•开封》，1991/1995
Oil on canvas 布面油画
72 x 72 in  (183 × 183cm)

EXHIBITED
Beijing, CAFA Art Museum, Graduation Exhibition of Oil Painting Seminar of Central Academy of Fine Arts, 1991
Beijing, National Museum of China, 91 Chinese Oil Painting Annual Exhibition, 1991
Hong Kong, The First Chinese Oil Painting Exhibition, 1991
Beijing, National Art Museum, History of River-The Chinese Oil Painting Exhibition in New Era, 2005
Beijing, Central Academy of Fine Arts, The Temperature of History: CAFA and Chinese Representational Oil Paintings, 2015
Guangzhou, Guangdong Museum of Art, The Invitational Exhibition of Oil Painting of Dingxin South China–My Land and My People, 2012
Touring Exhibition at China Art Museum, Shanghai, Taimiao Art Museum, Beijing, Nanjing Art Gallery, Nanjing, Hubei Museum of Art, Hubei, Chongqing Art Museum, Chongqing, Central Academy of Fine Arts Art Museum, Beijing, Taiyuan Art Museum, Taiyuan, 2016

展出
北京，中央美术学院美术馆，《第五届油画创作研修班毕业展》，1991
北京，中国历史博物馆，《’91中国油画年展》，1991
香港，《首届中国油画展》，1991
武汉，湖北美术馆，《“回顾与展望”湖北油画艺术展》，2011
北京，中国美术馆, 《大河下·1976-2005新时期中国油画回顾展》，2005
北京，中央美术学院，《历史的温度、中央美术学院与中国具象油画》，2015
广州，广东美术馆，《鼎新华南·吾土吾民系列油画邀请展》2012
上海中华艺术宫、北京太庙艺术馆、南京美术馆、湖北美术馆、重庆美术馆、中央美院美术馆、太原美术馆巡回展，2016

The first painting of the same title was created in 1991 and has been collected by Hanart Limited in Hong Kong. In 1995, Zhou Xianglin recreated the original large oil painting at the request of Ms. Wang Guangmei, the wife of Liu Shaoqi. November 12, 1969 - Kaifeng, however, is not drawn exactly according to the first painting, but has made minor adjustments such as the title text on the Mi Zi Xing newspaper strip in the window, rather than exactly following the first painting. The original policy “Dig deep holes; Store grain widely; Don't be hegemonic” also changed after examination, and the forehead part of Liu Shaoqi anatomized precisely.

Through the tragedy of the former president, Zhou Xianglin betokened the major historical subject that has almost concentrated the stupendous tragedy of the country, nation, and individuals in the decade of the Cultural Revolution. Looking at this subject from a historical perspective and making judgment with a rational mind, Zhou Xianglin selected this section to reflect on the fate of the country and the nation, not to evaluate the merits and demerits of a particular person.

同名第一幅创作于1991年由香港汉雅轩有限公司收藏。1995年，周向林应刘少奇夫人王光美女士要求为其重新创作原大油画一幅，但此画并未完全依照第一幅绘制而是做了诸多调整，如窗户上米字形报纸条上的标题文字，原有的“深挖洞、广积粮、不称霸” 经考证作了改动，并调整完善了刘少奇额头部分的解剖结构。
周向林通过前国家主席的悲剧表现重大的历史题材。这个题材几乎浓缩了文革十年国家、民族和个人的极大悲剧。周向林用历史的眼光去看待，用理性的思维做出判断。选取这一片段是对国家和民族命运的思考，而不是为了评价某个人的功过得失。

November 12, 1969 - Kaifeng《1969年11月12日•开封》，1991
Sketches 素描稿
72 x 72 in (183 × 183cm)

The Flower of the Famous General Is Withered on Taihang Mountain《名将之花凋谢在太行山上》,1999
Oil on canvas 布面油画
63 x 66 7/8 in.（160 × 170 cm）

展出
武汉，湖北美术馆，《第九届湖北省美展》，1999
武汉，《湖北省纪念中国人民抗日战争暨世界反法西斯战争胜利60周年美展》，2005
武汉，湖北美术馆，《“回顾与展望”湖北油画艺术展》，2011

EXHIBITED
Wuhan, Hubei Museum of Art, The 9th Hubei Provincial Fine Arts Works Exhibition, 1999
Wuhan, Hubei Province Commemorates the 60th Anniversary of the Victory of the Chinese People's War of Resistance Against Japanese Aggression and the World Anti-Fascist War Art Exhibition, 2005
Wuhan, Hubei Museum of Art, Retrospect and Prospect, Hubei Oil Painting Art Exhibition, 2011

On November 7, 1939, the Eighth Route Army’s Lie Rongzhen, He Long and Yang Chengwu troops killed General Norihide Abe, who was called “The Flower of the Famous General” and “Expert in Mountain warfare”. After he died, the commander-in-chief of Japanese North China Front Army, Lieutenant General Hayao Tada, wrote an elegy, “The Flower of the Famous General is Withered on Taihang Mountain”.  The Japanese newspaper "Asahi Shimbun" has used the headline “The Flower of the Famous General is Withered on Taihang Mountain” for three consecutive days, and said, “since the establishment of the Imperial Army, there has been no such example of the sacrifice of a general officer of the rank of lieutenant general.”
The extremely satire of Japan’s denial of Second Sino-Japanese War was the fact that Norihide Abe was shot dead in a Chinese peasant’s room.  Norihide Abe and other solders, from another point of view, were both perpetrators and victims of war. They might have been professors, scholars, or ordinary people, without the Second Sino-Japanese War, and would not have been buried in alien countries. This oil painting depicted Norihide Abe at the moment of being blown up – bewildered and confused appearance, his body in the air, and together with fluttering map and the flying chicken as well as jumping dog scene – all of which appropriately express the creative intent.

1939年11月7日，八路军聂荣臻、贺龙、杨成武部在太行山黄土岭击毙被称为“名将之花”、“山地战专家”的日军中将阿部规秀。阿部规秀死后，日军华北方面军总司令多田俊中将写了个挽联：“名将之花凋谢在太行山上”。日本《朝日新闻》连续三天以“名将之花凋谢在太行山上”为通栏标题，这家报纸说：“自从皇军成立以来，中将级将官的牺牲，是没有这样的例子的。”

阿部规秀被击毙在中国农民的房里，是日本对侵华战争否认的极大讽刺。从另一个角度看，阿部规秀等日本军人，既是战争的加害者，又是战争的受害者。如果没有日本军国主义发动的侵华战争，他们可能是教授学者或其他身份的老百姓，不至于葬身他乡。油画表现了阿部规秀在被炸的瞬间，茫然不知所措的神态与狼狈腾空的身体，加上飘舞的地图、鸡飞狗跳的场面，都恰如其分地表达了创作意图。
 

Red Machine – One 《红色机器·之一》, 1993
Oil on canvas 布面油画
76 3/4 x 76 3/4 in  (195 × 195 cm)

展出
北京，中国美术馆，《’93青年油画家邀请展》，1993
北京，中国美术馆，《第二届中国油画展》，1993
武汉，武汉天地，《在场·武汉·2008当代艺术邀请展》，2008
武汉，武汉美术馆，《 “互动”2008中国当代油画邀请展》，2008
广州，广东美术馆，《两湖潮流·湖北/湖南当代艺术展》，2009
武汉，湖北美术馆，《湖北美术学院九十周年校庆美术作品展》，2010
北京，今日美术馆，《历史与现实-周向林个展》2011
新加坡，“艺术登陆新加坡”博览会，2011
广州，广东美术馆，《鼎新华南·吾土吾民系列油画邀请展》2012

EXHIBITED
Beijing, National Art Museum of China, Invitational Exhibition of Young Oil Painting Artists, 1993
Beijing, National Art Museum of China, The 2nd Chinese Oil Painting Exhibition, 1993
Wuhan, Wuhan Tiandi, Present -Wuhan-2008 Contemporary Art Invitational Exhibition, 2008
Wuhan, Wuhan Art Museum, Interaction: Invitation Exhibition of Chinese Contemporary Oil Painting, 2008
Guangzhou, Guangdong Museum of Art, Trends in Hubei and Hunan, Chinese Contemporary Art Exhibition, 2009
Wuhan, Hubei Museum of Art, Hubei Institute of Fine Arts 90th Anniversary Art Exhibition, 2010
Beijing, Today Art Museum, Zhou Xianglin Solo Exhibition, History & Reality, 2011
Singapore, Dialogue Space, Art Stage Singapore, 2011
Guangzhou, Guangdong Museum of Art, My Land and My People, 2012

《红色机器》系列拓宽了历史画创作的领域，周向林称之为陈列性的历史画。作者提供的角度是陈列性的，作品中的表现对象如同摆进博物馆中的展品，价值和意义在陈列中显示出来。浓缩在物上的历史烙印提供了时代符号转换的契机，陈列的实物感贯通了符号的上下文关系，原被掩盖的历史情境即刻转换成心照不宣的明示。这种陈列的历史画无论在观念上或是语言上，都已远远越出一般历史画的规范。“东方红”是一个时代的缩影，也是一代中国人的情结，更是整个毛泽东时代的象征。

Red Machine series has broadened the sphere of history painting creation and called as historical painting for display by Zhou Xianglin. The angle provided by him is that of a display. The objects in the works are equal to the exhibits in the museums, and their value and meaningful are revealed in the display. The historical imprint condensed on the objects provides the opportunity to transform the symbol of the time. The physical sense of the display penetrates the contextual relationship of the symbols. The original concealed historical scene instantly converted into a tacit state. This kind of historical painting on display are far beyond the norm of general historical paintings in terms of the concept or the language. “Dongfanghong” is a microcosm of an era, a sentiment of a generation of Chinese people, and the symbol of the entire Mao Zedong.
 

Model - 1/18×18-BJ212《模型·1/18×18·BJ212》, 2007
Oil on canvas 布面油画
78 3/4 x 78 3/4 in  (200 x 200 cm)

展出
武汉，湖北美术馆，《湖北省美术作品展览》，2007
广州，广东美术馆，《两湖潮流·湖北/湖南当代艺术展》，2009
武汉，湖北美术馆，《湖北美术学院九十周年校庆美术作品展》，2010
北京，今日美术馆，《历史与现实-周向林个展》,2011
新加坡，“艺术登陆新加坡”博览会，2011
武汉，合美术馆，《西云东语•当代艺术研究展》2014

EHIBITED
Wuhan, Hubei Museum of Art, Hubei Fine Arts Works Exhibition, 2007
Guangzhou, Guangdong Museum of Art, Trends in Hubei and Hunan, Chinese Contemporary Art Exhibition, 2009
Wuhan, Hubei Museum of Art, Hubei Institute of Fine Arts 90th Anniversary Art Exhibition, 2010
Beijing, Today Art Museum, Zhou Xianglin Solo Exhibition, History & Reality, 2011
Singapore, Dialogue Space, Art Stage Singapore, 2011
Wuhan, United Art Museum, West Says East Says: Chinese Contemporary Art Research Exhibition, 2014
 

BJ212 Light Off-Road Vehicle, a military product designed and manufactured in China in 1965. In the Cultural Revolution a year later, it became a symbol of the times as Mao Zedong rode in it several times to meet the Red Guards. Zhou Xianglin at the age of 12 experienced and witnessed firsthand the frenzied scene of Mao Zedong’s eight meeting the Red Guards. By painting an ordinary car, the artist adumbrated a complicated emotion for those days.

北京牌BJ212轻型越野汽车，是1965年中国设计制造的军工产品。在一年后的文化大革命中，随着毛泽东乘坐它数次接见红卫兵而成为时代的象征符号。毛泽东第八次接见红卫兵时，12岁的周向林就在天安门广场亲历了那个狂热的场面。这幅油画通过描绘一辆普通的汽车，对过去那个时代表达了一种复杂的情感。

Model·1/N×N series

Zhou Xianglin’s Model·1/N×N series has a strong conceptual nature. Zhou Xianglin, through realistic painting methods, attempted to restore that period of history by painting representative classical car models with light and scaled up, but what he found was merely an evocative symbol of the times.

The concept that the product of time can no longer be amplified and restored after being compressed is expressed and conveyed in different periods of classical car toy models by Zhou Xianglin’s paintings transformation. They usually associate with the lost years and people’s deep memories stories, which converted their physical attributes of products into era marks and historical symbols. And after being compressed by people’s memories, the real history gradually fades away from its original appearance, just like the compressed and enlarged of a car model, which remains meticulously real but not the real thing at that time.

《模型·1/N×N》系列

组画《模型·1/N×N》带有较强的观念性。周向林通过写实的绘画方式将具有代表性的经典汽车模型打上灯光，按比例放大，试图还原那段历史，但找回的只是令人回味的时代符号。这些不同时期的经典汽车模型经由周向林的绘画转换，传递了时间的产物被压缩后再也无法放大还原的观念。它们通常和那些逝去的年代和人们记忆深处的故事联在一起，使得它们的产品物质属性转换为时代印记和历史符号。而真实的历史在人们的记忆压缩后，逐渐褪色了原来的面貌，犹如被压缩又扩大的汽车模型，细致真实却并非当时的实物。

Model - 1/18×18·SH760《模型·1/18×18·SH760》，2009
Oil on canvas 布面油画
78 3/4 x 78 3/4 in  (200 x 200 cm)

Model - 1/20×20-Dongfeng Jinglong《模型·1/20×20·东风金龙》
Oil on canvas 布面油画
78 3/4 x 78 3/4 in  (200 x 200 cm)

Model - 1/24×24-Hongqi CA770《模型·1/24×24·红旗CA770》
Oil on canvas 布面油画
78 3/4 x 252 in  (200 x 640 cm)

Model - Mercedes-Benz 1931《模型•奔驰1931》
Oil on canvas 布面油画
62 1/4 x 176 3/8 in  (158 x 448 cm)

1939 - Rolls-Royce-Ghost《1939·劳斯莱斯·幽灵》
Oil on canvas 布面油画
35 3/8 x 41 in  (90 x 104 cm)

Genetic Engineering I《基因工程Ⅰ》，2018
Oil on canvas布面油画
70 7/8 x 161 3/8 in  (180 × 410 cm)

Genetic Engineering II《基因工程II 》，2019
Oil on canvas 布面油画
70 7/8 x 161 3/8 in  (180 × 410 cm)

Genetic Engineering I（unfinish）《基因工程Ⅲ》(未完成）, 2020
Oil on canvas 布面油画
70 7/8 x 161 3/8 in  (180 × 410 cm)

Happy Life 《幸福生活》, 1997
Oil on canvas 布面油画
66 1/8 x 31 1/2 in  (168 x 80 cm)

Barbie-Barbie《芭比·芭比》, 1997-2015
Oil on canvas 布面油画
66 1/8 x 59 in  (168 x 150 cm)

Unreal Space I《虚幻空间·之一》,2004
Oil on canvas 布面油画
31 7/8 x 51 1/8 in  (81 × 130 cm)

Unreal Space II《虚幻空间·之二》， 2004
Oil on canvas 布面油画
31 1/2 x 51 1/8 in  (81 x 130 cm)

Unreal Space IV《虚幻空间·之四》， 2004
Oil on canvas布面油画
31 1/2 x 51 1/8 in  (81 x 130 cm)

Red Tourism - Attractions H《红色旅游·景点H》， 2005
Oil on canvas 布面油画
78 3/4 x 53 1/8 in  (200 x 135cm)

Red Tourism - Attractions R《红色旅游·景点R》， 2006
Oil on canvas 布面油画
78 3/4 x 53 1/8 in  (200 x 135cm)

Happy Life《幸福生活》，2010
Handmade Silk Carpet 手工丝毯
102 3/8 x 51 1/8 in  (260 × 130cm)

Queen《女王》，2010
Handmade Silk Carpet 手工丝毯
102 3/8 x 70 1/8 in（260 × 178 cm）

“Dream China” I and II《梦•中•国》之一、之二，2016
Oil on canvas 布面油画
43 1/4 x 86 5/8 in  (110 x 220 cm)
Each: 43 1/4 x 43 1/4 in  (110 × 110 cm)

“Dream China” I《梦•中•国》之一
Oil on canvas 布面油画
43 1/4 x 43 1/4 in  (110 × 110 cm)

“Dream China” II《梦•中•国》之二，2016
Oil on canvas 布面油画
43 1/4 x 43 1/4 in  (110 × 110 cm)

“Dream China” III and IV《梦•中•国》之三、之四，2016
Oil on canvas布面油画
43 1/4 x 86 5/8 in  (110 x 220 cm)
Each: 43 1/4 x 43 1/4 in  (110 × 110 cm)

“Dream China” III《梦•中•国》之三，2016
Oil on canvas布面油画
43 1/4 x 43 1/4 in  (110 × 110 cm)

“Dream China”  IV《梦•中•国》之四，2016
Oil on canvas布面油画
43 1/4 x 43 1/4 in  (110 × 110 cm)

“Dream China” V and VI《梦•中•国》之五、之六，2016
Oil on canvas布面油画
43 1/4 x 86 5/8 in  (110 x 220 cm)
Each: 43 1/4 x 43 1/4 in  (110 × 110 cm)

“Dream China” V《梦•中•国》之五，2016
Oil on canvas布面油画
43 1/4 x 43 1/4 in  (110 × 110 cm)

“Dream China” VI《梦•中•国》之六，2016
Oil on canvas布面油画
43 1/4 x 43 1/4 in  (110 × 110 cm)

“Dream China” VII and VIII《梦•中•国》之五、之六，2016
Oil on canvas布面油画
43 1/4 x 86 5/8 in  (110 x 220 cm)

“Dream China” VII《梦•中•国》之七，2016
Oil on canvas布面油画
43 1/4 x 43 1/4 in  (110 × 110 cm)

“Dream China”  VIII《梦•中•国》之八，2016
Oil on canvas布面油画
43 1/4 x 43 1/4 in  (110 × 110 cm)

Red Machine I《红色机器·之一》，2002
Lithographic 平版印刷
29 1/8 x 28 3/8 in  (74 × 72 cm)

Edition of 99

Red Machine II《红色机器·之一》，2002
Lithographic 平版印刷
29 1/8 x 28 3/8 in  (74 × 72 cm)

Edition of 99

Mercedes-Benz 1931《奔驰·1931》, 2011
Lithographic 平版印刷
17 3/4 x 39 3/8 in (45 × 100cm)

Edition of 99

China Memory - Liberation《中国记忆·解放》，2010
Lithographic 平版印刷
27 1/2 x 29 1/2 in（70 x 75 cm）

Edition of 99

Red Machine IV《红色机器·之三》，2006
Lithographic 平版印刷
28 x 32 7/8 in（71 x 83.5 cm）

Edition of 99