“Ever Glow: Exhibition for Works from School of Chinese Painting” officially kicked off at the China Art Museum on September 20 in the afternoon. It is hosted by China Academy of Art (CAA) and China Art Museum (Shanghai Art Museum), organized by CAA's School of Chinese Painting and CAA Art Museum, guided by Zhejiang Provincial Federation of Literary and Art Circles (ZFLA) and Shanghai Federation of Literary and Art Circles, and supported by the Zhejiang Artists Association, Zhejiang Art Museum, Li Keran Art Foundation, and China Academy of Art Education Foundation. The exhibition marks the first comprehensive showcase of Chinese paintings that methodically traces their academic lineage over nearly a century in the Jiangnan region, from Lin Fengmian, Pan Tianshou, and Huang Binhong to CAA's newest cohort of undergraduate, master's and doctoral students. This is the first time that over 200 outstanding artworks have been presented together.

Xu Jiang, Vice Chairman of China Federation of Literary and Art Circles (CFLAC), Chairman of ZFLA, and Director of CAA Academic Board; Jin Yibin, Chairman of the Committee of Academy Affairs of CAA; and Wang Yichuan, Party Secretary and Executive Curator of China Art Museum (Shanghai Art Museum) addressed the event. Yang Shouwei, Party Secretary, Vice Chairman, and Executive Secretary of the Secretariat of ZFLA announced the official opening of the exhibition.

Mr. Xu Jiang mentioned the "Four Teachings of the Academy" that were established when CAA was founded in 1928—to ground artistic research in the macro landscape of Eastern and Western art, integrate and create art, and showcase the dedication and spirit of the pioneering artists of CAA. Mr. Pan Tianshou transformed the traditional apprenticeship model in Chinese painting to the new contemporary pedagogical framework. Mr. Huang Binhong promoted classical Chinese art and reached the pinnacle of traditional Chinese landscape painting. The Zhejiang school of figure painting emerged then, thus beginning a new chapter of expressionism in figure painting in China. In the late 1950s, Mr. Pan Tianshou proposed splitting the study of art into the subjects of human figures, landscapes and flowers. He developed a curriculum that comprised copying and field sketching, established a pedagogical framework centered on learning from the ancients, learning from nature, and learning from one's heart, trained a generation of outstanding Chinese artists, laid a strong foundation for the study of Chinese painting at CAA and built a pipeline of new talents. The segregation of studies had an immense impact. Human figures, landscapes and flowers were split into three disciplines. Copying, sketching and painting were split into three stages. The ancients, nature and one's heart were one's three mentors. These were the structure and contents that formed the segregated studies as well as the structural pedagogical framework for the study of Chinese painting at CAA. "Copying" is a pivotal stage in the learning process while "sketching" is the most popular. When teaching Chinese painting, CAA's focus is on developing character and inspiring souls. CAA's founding artists like Mr. Pan Tianshou placed great regard on the connection between artistic quality, the artist's character and the artwork itself. He believed that truth was only accessible to the enlightened soul. That is why one must learn from one's heart. Mr. Xu Jiang stressed that CAA has incorporated the instruction and theoretical study of Chinese painting into artistic research in the new century. Firstly, this is so that CAA could apply to have its Chinese painting discipline recognized as a National Key Discipline. Secondly, this is to promote the showcase of outstanding Chinese paintings by famed artists at exhibitions in Beijing. Thirdly, this is to allow CAA to lead the way in conducting practice-led doctoral theoretical research and grooming artists of that caliber. Fourthly, it is so that CAA can launch the Hangzhou Chinese Painting Biennale. In art and classical Chinese art, innovation is key. There have been significant breakthroughs in research in the field of Chinese painting in recent years. The field is entering a new chapter by improving its accessibility to the public, and delving deeper into research, integration and expansion. We can expect more exhibitions from an institution grounded in a rich academic legacy. This exhibition is divided into four sections: Approaching Cloud, Charming Wind, Searching for God, and Asking. As the clouds dance endlessly across a heaven radiant with ever glow, so do we persist in the endless study of Chinese painting.

Mr. Jin Yibin said that the exhibition showcases the deep connections between Shanghai and CAA's School of Chinese Painting over nearly a century. It is also the result of the agreement on strategic partnership entered into between CAA and Shanghai and a great demonstration of a collaboration between a prestigious academic institution and a major city. The exhibition highlights the intimate relationship between traditional paintings and the development of Chinese culture. CAA's century-long academic lineage of  Chinese painting revealed the intricate ties that bind Shanghai and the cultural mission together. The founding of National Academy of Art (now CAA) in the 1920s marked a new era for the contemporary study of Chinese painting. Steered by Mr. Lin Fengmian's mission of integrating Eastern and Western art and Mr. Pan Tianshou's vision of innovating from tradition, CAA has committed to a pedagogical and creative mission of cultivating talents and constant innovation in the field of Chinese painting. Dedicated to preserving and promoting the great Chinese art of traditional Chinese painting, the Academy has produced ideas, artworks and talents as well as numerous talented artists in Chinese painting. Our predecessors' Shanghai school of aesthetics play an important role in informing the DNA of Chinese painting. Chinese painting is centered on the legacy and development of Chinese culture. The abstract nature of integrating Eastern and Western art and the practical nature of deriving innovation from tradition complement each other. Embedded deeply within this interplay is the study of origins and its interchangeability. The result is a strong and diverse field of Chinese painting that continuously innovates and flourishes. We must be committed to and confident of the future of Chinese painting. We must explore deeper and work harder, and play a greater role in the development of humankind culture.