WANGDA SHOWCASES safeguards Pan Yuliang's Artworks in ANHUI Museum Project

WAGNDA SHOWCASES delivered and handed over the specially customized high-end museum display cases/showcases to AnHui Museum to safeguard the Exhibition of Priceless Artworks by Ms. Pan Yuliang.


Established in 1956, Anhui Museum is a grade-one national museum, a 4A tourist spot, a national patriotism education base and a provincial civilized unit of “Three Excellencies”. It boasts a collection of 200,000 pieces of cultural relics, with distinct local features. Representative of them are the bronze wares of the Xia and Shang dynasties, the four treasures of the study, Xin’an paintings and works of calligraphy, the ancient Huizhou documents, the three types of carvings of Huizhou and Pan Yuliang’s works of art. “The Huizhou ancient Architecture Exhibition” ranks among “the National Top Ten Exhibitions of Treasures.” 


Pan Yuliang (Chinese: 潘玉良, 14 June 1895 – 1977), born in Yangzhou as Chen Xiuqing, and was renamed Zhang Yuliang (張玉良) when adopted by her maternal uncle after the early passing of her parents.[1] She was a Chinese painter, renowned as the first woman in the country to paint in the Western style. She had studied in Shanghai and Paris. Because her modernist works caused controversy and drew severe criticism in China during the 1930s, Pan returned to Paris in 1937 to live and work for the next 40 years. She taught at the École des Beaux Arts, won several awards for her work, had exhibits internationally in Europe, the United States and Japan, and was collected by major institutions. In 1985 after her death, much of her work was transported to China, collected by the National Art Museum in the capital of Beijing, and a few are collected by the Anhui Museum in Hefei, the capital of Anhui Province. Her life as an artist has been portrayed in novels and film in China and the United States. Her art evolved within the flux of transformations where conflicting dichotomies of East and West, tradition and modernity, male chauvinism and emerging feminism co-existed.[1] Pan is also figured as who engaged with labels, such as " contemporary/modern," " Chinese," and " woman" artist, while questioning them.[2]


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