What were the achievements of Chinese painting, oil painting, printmaking and sculpture at the beginning of the new China?

March 27, 1955, by the Ministry of Culture and the National Association of Fine Arts jointly organized the "Second National Fine Arts Exhibition" after more than a year of preparation in Beijing, the Soviet Union Exhibition Hall opened. *** The exhibition featured more than 900 works of art in the categories of Chinese paintings, oil paintings, Chinese New Year paintings, comic strips, propaganda paintings, cartoons, prints, sculptures, illustrations, watercolors, drawings, sketches, and so on, selected from 4,000 conscripted works by more than 600 authors, and was the first large-scale exhibition in the history of the arts in New China, and the People's Daily published an editorial on the occasion, saying that the exhibition The People's Daily published an editorial saying that this exhibition "concentrates on the creative achievements of the national artists since the founding of China". The exhibition featured Li Dendu's Chinese paintings "Site Visit" and "Chairman Mao You Are the Guarantor of Our Happiness," and other important Chinese paintings such as Guan Shanyue's "Newly Developed Highway," Zhang Xuefu's "Turning Floods Into Water Conservation," Jiang Zhaoho's "Children and Pigeons," Zhou Changgu's "Two Lambs," and Shi Lu's "Inside and Outside the Ancient Great Wall. Although this exhibition as a whole was highly praised, however, the professional art workers who came to Beijing to visit this exhibition put forward some critical comments: "Jiang Zhaoho, Shi Lu, Li Dendu's works, the character's face is also inappropriate use of the 'Western method', giving a person a feeling of nastiness! Others "do not recognize Li Dendu's 'Site Visit' and Zong Qixiang's 'Breaking through the Mills' as 'national paintings' but rather as Western watercolors". ' but rather Western watercolors." If the criticism of Li Dendu and others came from the general public, it might be understood that the new method had not yet been accepted by the masses, but the opinions of the "professional artists" on the works, written by the journalists of Fine Arts magazine, reflected the problem of the integration of Western methods in the transformation of Chinese paintings, which was still imperfect, to say the least. The contradiction between literati and reality, between Chinese painting and Western painting, which is reflected here, is an old problem that has continued since the beginning of this century, and at the same time, it also reflects the new problems in the transformation of Chinese painting that began in the early 1950s. As early as 1946, when Li Dendi held a personal exhibition in Chongqing, his teacher Xu Beihong gave him this evaluation: "Sketching on Chinese paper and ink with Western painting method was created since the Art Department of CUHK moved to Shu, and Li Dendi was the most successful one." Generally speaking, when "Chinese ink and paper" and "Western painting method" appear in a picture, it doesn't matter whether it is possible or not, however, things happen in the name of "Chinese painting". However, when it comes to the name "Chinese Painting", the "yes" or "no" to its identification is fatal. If we go back to the historical situation, Li Dendi was a member of the watercolor teaching group of the Central Academy of Fine Arts in 1952, and became a member of the teaching staff of the Department of Color and Ink Painting (Chinese Painting) in 1955, and his identity change corresponded to the atmosphere of "Chinese Painting" in the middle of the 1950s, and all of the designations have their rationalities in reality. From that time onwards, it was possible to ignore such designations. The key is the social significance of the painting, "yes" or "no" is secondary. 50 years later, today, when "The Realm of Painting--Li Dendu's Fine Paintings Retrospective Exhibition" is held in Beijing Painting Center, it is a great opportunity to see Li Dendu's paintings in action. Today, 50 years later, when the "Retrospective Exhibition of Li Dendu's Paintings" is held in Beijing Painting Academy, facing Li Dendu's works, no one may say that he is not "Chinese Painting" any more, because the history has taken a big step forward, and there are a lot of people who are not as good as he is in reality, on the contrary, the young people may mutter about how they would say that back in those days. The good thing is that today the "yes" and "no" for the "Chinese painting" designation is even less important, because the general cultural environment of the society is more relaxed than 50 years ago, and the tolerance of the society in the The issue of "Chinese painting" has already reached a situation where the bottom line has been breached. Then, still retained in the forthcoming Eleventh National Art Exhibition ranked first in all kinds of painting "Chinese painting" how to do? I do not know the relevant people think about it?