In the time of the upcoming Spring Festival, the National Art Museum of China has being holding two grand exhibitions, namely, Grand Exhibition on the Chinese New Year Pictures and Exhibition of Calligraphy under the context in order to present a visual banquet for the audience. 

Grand Exhibition on the Chinese New Year Pictures

2010.02.09 to 2010.02.27 (Hall 13, 14,15,16,17,19,20,21）
2010.02.09 to 2010.03.03 (Hall 4 and 5)

“Grand exhibition on the Chinese New Year pictures” is currently on display at the National Art Museum of China. The New Year picture is a vivid reflection of praying for fortune and welcoming the upcoming spring in the Chinese cultural conception. The exhibition comprises four sections, that is, a nice spring falls during the Spring Festival, a hundred children plays to celebrate the Spring Festival, good performances are displayed and the new wind welcomes the Spring Festival. Sponsored by the Ministry of the Culture and the National Art Museum of China, the exhibition reflects the development process of the art from the traditional form to the new and also the great importance attached by the government to intangible cultural heritages. It aims to protect the traditional woodblock New Year pictures and promote the creation of the new Spring Festival pictures.

The Chinese New Year picture is an important part of the traditional Chinese art, boasting diversified connotation as an encyclopedia of the folk life. The National Art Museum of China has a collection of more than 3,000 pictures from famous places across the country, including Yangliuqing of Tianjin, Taohuawu of Suzhou, Zhuxian county of Henan, Wuqiang of Hebei, Linfen of Shanxi, Tantou of Hunan, Zhangzhou of Fujian, Fengxiang of Shaanxi, Tanxian of Shandong and Mianzhu of Sichuan. A total of 200 exhibits demonstrate the splendid history of the art.

Since the New China establishment, imitated by the Ministry of Culture, a large number of artists have been engaged in creation with remarkable achievements. The exhibits comprise some masterpieces by Li Keran, Li Qi, Zhang Ding, Liu Wenxi, Ren Shuaiying, Li Qun, Gu Yuan and Yan Han. Those works reflect the strong characteristics of the times through new concepts and artistic forms. Since the reform and opening up in 1978, the art of the Chinese New Year picture have enjoyed further development and found the good meeting point between the traditional technique and the modern life. The exhibition is also hoped to reflect the development of the art in the new period.　
Zhang Dianying, famous artist in the Spring Festival picture, is invited to make live demonstration on how to creating woodblock pictures with his son Zhang Yunxiang in the exhibition hall.

Exhibition of Calligraphy under the context

2010.02.09 to 2010.03.01
Hall 1, 2, 3, 6, 7, 8, 9 and the square hall on the first floor

In addition to promoting the development of the art, the National Art Museum of China has attached great importance to the development of the calligraphy and the new achievements in the modern time. Recent years have witnessed a series of calligraphic exhibition, which has caused heated reaction in the calligraphic circle and the public with the support of many calligraphers.

In celebration of the upcoming the Year of the Tiger, the National Art Museum of China is holding an exhibition of calligraphy under the context.
From the previous experience, the National Art Museum of China has been focused on its academic and thematic features in order to promote the culture of the museum. 

Sponsored by Fan Di’an, Yang Bingyan and Wang Jiaxin, the exhibition comprises more than 200 fine works, Regarded as an important collection of the latest achievements in the modern calligraphic circle, the show is also an active exploration of the mode and the usage of the calligraphy, its internal value and social value. The exhibition is hoped to reflect the aesthetic value of the integration of the calligraphy to the life and the vitality of the calligraphy.

Accompanying with the Chinese character, the Chinese calligraphy boasts a variety of development modes, such as ceramic carved notation, inscriptions on bones or tortoise shells, bronze inscriptions, stone carving and bamboo and wooden slips. All the works are deeply rooted in the cultural soil and the artistic context and have developed into a highly mature cultural ecology of the ancient Chinese calligraphy. In the modern time, as the calligraphy has gradually kept far away from the practical demand, great changes of its development mechanism have taken place. The artistic function has brought about wider recreation space, but under the spectacular cultural background of the exhibition hall, the calligraphy is gradually getting far from the modern life. It is an inevitable task faced with the modern calligraphy. The National Art Museum of China has invited the modern calligraphic masters to this exhibition in order to overview the cultural ecology of the calligraphic art in the past and established the current majestic image through the academic link between the context and the calligraphy.

The exhibition comprises a total of eight parts, including spectacular events in the Spring Festival, the emotion for the landscape, solemn palaces, countryside images, elegant rooms, glamorous courts, exquisite gardens and the decorations for shop facades. In the time of the upcoming Spring Festival, the exhibition is a pageant of the latest masterpieces as a high-quality project of public cultural services and a large-scale calligraphic temple fair to the audience from across the country.