The Paper's reporter Chen Ruoxi and Lu Linhan
The Shanghai Museum's most important special exhibition of calligraphy and painting this year, "Ten Thousand Years of Changchun: Special Exhibition of Calligraphy and Painting Art in Shanghai Dynasties", was officially opened today.
The Paper saw at the scene this morning that the exhibition presents the thousand-year history of calligraphy and painting in Shanghai from the Three Kingdoms period to modern and contemporary times with 146 famous calligraphy and paintings. The works on display include the Three Kingdoms Emperor's "Zhang Cao Qiu Zhi Zhang", the Western Jin Dynasty Lu Ji's "Cursive Writing Pingfu Post Page", Yuan Renrenfa's "Qiushui Qiqiu Tu Scroll", Gu Yuan's "Danshan Jixing Scroll", the Ming Dynasty Dong Qichang's "Xingshu Tianma Fu Scroll" and the modern works of Zhang Daqian, Wu Hufan, Lu Yushao, Liu Haisu and others. Interestingly, in the section that witnessed the Shanghai calligraphy and painting collection in the past seven hundred years, the calligraphy masterpieces of Su Dongpo and Zhao Mengfu became supporting roles.
According to the organizers, "a history of literati painting can be said to be half related to Shanghai", this exhibition sorts out the achievements of Calligraphy and Painting in Shanghai from the perspective of the history of literati painting, and examines its status and influence in art history. One of the highlights of this exhibition is to rediscover the achievements of the Shanghai painting scene in the late Yuan and early Ming dynasties, and to propose for the first time the concept of Shanghai Wumenmenyuan/Pioneer by neglecting and examining those figures who were neglected or even almost submerged in the history of painting. The exhibition also systematically sorts out and presents the history of Shanghai's calligraphy and painting collection in the past 700 years from the end of the Yuan Dynasty to the end of the Qing Dynasty and the beginning of the Ming Dynasty.
The exhibition, together with the "Wuhufan Calligraphy and Painting Collection Special Exhibition" (2015) and the "Danqing Bao Raft: Dong Qichang Calligraphy and Painting Art Exhibition" (2018) previously successfully held by the Shanghai Museum, constitute the "Maritime Trilogy" of the special research series on calligraphy and painting, and are also presented as a gift exhibition to celebrate the 100th anniversary of the founding of the Communist Party of China, which is divided into four parts: "Artistic Pulse/Artistic Achievement", "Humanistic/Regional Interaction", "Collection/Artistic Influence" and "Tidehead/Maritime Style". It is reported that the exhibition will be officially opened to the public on June 22.
Why "The History of Literati Painting, Half of It Is Related to Shanghai"
At the beginning of the exhibition, there is a "Schematic Map of Calligraphy and Painting Figures in Shanghai", which shows the names and locations of important calligraphers and painters in Shanghai in the past. The schematic diagram is bounded by the first year of Yongle, and painters before Yongle are marked in blue, and painters after Yongle are marked in black.
The portrait of Lu Ji of the Jin Dynasty exhibited at the scene, Lu Ji is a native of Huating, Songjiang
Schematic diagram of calligraphy and painting figures in the Shanghai area
On the morning of June 21, the opening scene of the Shanghai Museum's "Ten Thousand Years of Changchun: Special Exhibition of Calligraphy and Painting Art in Shanghai Dynasties"
"Because Yongle (1403) was an iconic node in Shanghai, Xia Yuanji governed the Huangpu River and the Wusong River. Before Yongle, the Huangpu River was actually a tributary of the Wusong River (now Suzhou River), the Wusong River undertook the main flood discharge function of the Taihu Lake Basin, through the treatment of floods many times in history, Yongle Three Years Xia Yuanji proposed to replace the function of the Wusong River, through the dredging of the Wusong River and Huangpu River by Xia Yuanji and Hai Rui, the hydrological pattern of 'Huangpu Conquering Song' was laid, and the Wusong River became a tributary of the Huangpu River. Once the Huangpu River is formed into three rivers into the sea, the geographical advantages of Shanghai's international metropolis have emerged, and many literati painters and gardens have spontaneously migrated to the east, so the formation of the Hai school is also inevitable, and the interaction between the Wumen school and the Shanghai painting world has also occurred. ”
The exhibition is divided into four parts: "Artistic Pulse/Artistic Achievement", "Humanities/Regional Interaction", "Collection/Artistic Influence" and "Tidehead/Maritime Style". The first part is "Artistic Pulse/Artistic Achievement". A history of literati painting can be said to be half related to Shanghai. This section explains the important influence of the art pulse and achievements of maritime calligraphy and painting on the history of literati painting by combing through the "ancestors of the Fa Ti", Lu Ji's "Ping Fu Ti" of the Jin Dynasty, and pulling out the "Ink Drama Theory" literati painting theory (who served as a town supervisor in Qingpu Qinglong Town, Shanghai), the achievements of Shanghai literati painting in the Yuan Dynasty, the Yunjian School of Calligraphy in the early Ming Dynasty and the "Wumenmen Yuan" in Shanghai, as well as the last peak of ancient painting history, the Maritime Painting School, and even the achievements of famous artists such as Huang Binhong, Li Shutong, and Lu Yushao in modern times.
Jin Dynasty Lu Ji "Ping Fu Ti" expanded the book
The exhibition site of "You Xiang Lan Ting" treasured by shanghai library
In the southeast of the Yuan Dynasty, the southeast was chaotic, and the parties showed a trend of division, and unlike cities such as Suzhou, which were the places where soldiers had to fight for the family and the administrative center, the areas east of the Taihu Lake Basin such as Songjiang, Qingpu, Jiading, Jinshan, Jiaxing and other areas were slightly free of military fire for a while, coupled with low taxes, and for a time became a peach blossom source for the literati to take refuge. This was followed by a massive migration of men and women. It can be said that the formation of the Wusong River in Shanghai to the Huangpu River as the main water system is almost in sync with the trend of literati painters after the Yuan and Ming Dynasties to use Shanghai as the center of Jiangnan art activities.
Ming Dynasty Hai Rui calligraphy, Hai Rui once participated in the control of water in Shanghai and other places
Ling Lizhong said that he wanted to use this as a starting point to answer the question of whether Shanghai is a "small fishing village" in terms of calligraphy and painting achievements. Shanghai is not a "small fishing village" from the perspective of history, economy and archaeology, but in terms of calligraphy and painting achievements, it is still stuck in the concept of "small fishing village", in the past, people only knew that Shanghai had a "maritime painting school", through a condensed schematic map and an upcoming exhibition picture scroll, to explain the concept of "the history of literati painting, which can be described as half related to Shanghai".
Yuan Li Sheng Dian Lake farewell picture scroll Shanghai Museum collection
Yuan Li Sheng DianHu Farewell Scroll (Partial) Shanghai Museum Collection
The exhibition exhibits Li Sheng's "Farewell Map of Dianhu Lake" in the Yuan Dynasty, and Wen Jia's "Map of Qushui Garden" volume, which are all witnesses. Li Sheng was a famous painter at the end of the Yuan Dynasty, a native of Haoliang, Shandong, who moved to the shores of Dianshan Lake in Shanghai in his later years. "Dianhu Farewell Map" is the earliest representative work depicting the lake view of Qingpu Dianshan Mountain, and its significance is like the Southern Song Dynasty anonym "West Lake Map" volume, Yuan Huang Gongwang "Fuchun Mountain Jutu" volume.
Ming Wen Jia Qu Water Garden Picture Scroll
Ming Wenjia QuShuiyuan Picture Scroll (Partial)
Exhibition Scene Ming Wenjia QushuiYuan Picture Scroll (Partial)
Wen Jia was wen Zhengming's second son, and the "Qushui Garden Map" volume is a scenery of the Qushui Garden in the countryside painted by Wen Jia for his friend Dong Yiyang in Shanghai. Dong Yiyang, a native of Maqiao, Minhang, Shanghai, was famous for his studies in art, and had many friends with Wu Chinese and calligraphers and painters. The water town landscape depicted by Wen Jia is the paradise of Dong Yiyang, the owner of the garden, who "only knows that his life is often idle, and he does not know that there is right and wrong in the world".
"Nanxi Caotang Picture Scroll" (not in this exhibition) was composed by Wen Boren for one of the core figures of the Jiangnan Calligraphy and Painting Collection, the Gu family of Shanghai Yuhongguan (partially Gu Congde and Gu Congyi), according to research, the original site of Nanxi Caotang is now the south of Zhaojiabang Road in the center of Shanghai, and in 1993, the Gu family tomb was also excavated near Zhaojiabang Road and Dapu Bridge.
Ling Lizhong told the surging news that from Li Sheng's "Farewell Map of Dianhu Lake" in the Yuan Dynasty to Ming Wen Boren's "Nanxi Caotang Picture Scroll" and Wen Jia's "Qushui Garden Map" volume, it is a road map for the migration of Shanghai's urban humanities since the Yuan and Ming Dynasties. The second part is "Humanistic/Regional Interaction", which not only shows the "Farewell Map of Dianhu Lake" in the Yuan Dynasty to the "Qushui Garden Map" in the Ming Dynasty, but also focuses on shanghai's natural scenery, language and diet, humanistic composition and other customs and customs in calligraphy and painting. In particular, he pays attention to the interaction between Shanghai and Suzhou, the representatives of the two important towns of Jiangnan culture since the Ming and Qing dynasties, with the continuous changes of their water system ecology, geographical advantages, economic status and other comprehensive factors, and the interaction relationship in the field of calligraphy and painting.
"Archaeology of Calligraphy and Painting", a reference to the "pioneer" figures of Wumen in Shanghai
According to reports, one of the highlights of this exhibition is that the concept of Shanghai Wumenmenyuan/Pioneer was put forward for the first time by neglecting and adding characters who were neglected or even almost submerged in the history of painting.
According to the curator, in the ming and qing painting history treatises and modern painting history research, the "Wumen pioneer" is generally defined as the founder of the "Wumen School" who is older in the generations - Shen Zhou to the second generation of artists of the early Ming Dynasty, represented by Du Qiong, Liu Yu, Shen Zhen, etc.; if it goes back to the end of the Yuan, that is, it inherits the positive pulse of the Four Families of the Yuan and influences the Wumen pioneers, it can be called "Wumen Yuanyuan", represented by Songjiang Tao Zongyi. Therefore, whether it is a "pioneer" or a "former yuan", its people are not limited to "Wumen". This exhibition presents a ming mayu's "Qidian Guanfeng Picture Scroll", which has never been exhibited in 70 years, because this picture was previously mistakenly attributed to the Ming Dynasty Jinling painter Shi Zhong (after 1437-1508), and according to the examination, it is actually Ma Yu's work.
Ming Ma Yu 《畿甸觀風圖卷》
Ma Yu was the son of the famous court painter Ma Shi in the early Ming Dynasty, a native of Jiading, Shanghai, who lived in Suzhou late, and had a relationship with the grandson of Shen Zhou (1427-1509), the head of the Wumen School. What is valuable is that the volume of pen and ink is neat, mainly covered with hemp, skillful and unrestrained, condensed in line, moist in ink color, and its sharp and dignified brushwork is interesting, and it is the first wind to open Shen's paintings.
"Through the discovery and examination of new materials, I confirmed that the author of the volume "Qidian Guanfeng Map" is the Shanghai Jiading painter Ma Yu, and I can see his influence on Shen Zhou, one of the Wumen painters, and can be completely classified as one of the pioneers of the Wumen School." Ling Lizhong told the surging news that along with Ma Yu's works is Ming Jinxuan's "Fishing Boat Singing Evening Picture Page", Ling Lizhong introduced that Kim Hyun and Ma Yu are both figures in the circle of friends of the Shen Zhou family and their teachers and elders, such as Shen Zhou's grandfather Shen Cheng, who has successively gone out of his home to show Kim Hyun and Ma Yu, so Ling Lizhong this time classified Ma Yu and Kim Hyun as pioneers of Shanghai Wumen.
Exhibition Scene Ming Dynasty Kim Hyun "Fishing Boat Singing Evening Picture Page"
Su Dongpo and Zhao Mengfu became supporting roles, witnessing the 700 years of Shanghai calligraphy and painting collection
The third part of the exhibition is "Collection/Artistic Influence". Inheritance and innovation are the only way for the sustainable development of the history of Chinese painting. This section sorts out the four main stages of Shanghai's calligraphy and painting collection in the past 700 years from the end of the Yuan Dynasty to the end of the Qing Dynasty and the beginning of the Ming Dynasty, namely "Zhaoxing" (late Yuan and early Ming Dynasty), "Four Divisions of the World" (mid-Ming Dynasty), "Peak" (late Ming and early Qing Dynasties) and "Half of the Rivers and Mountains" (late Qing Dynasty and early Ming Dynasty), and explores the influence of his artistic achievements with Shanghai calligraphers and painters on artistic activities in other regions.
The surging news saw at the scene that it is this exhibition unit that famous artists in the history of Chinese painting and calligraphy, such as Su Shi and Zhao Mengfu, have become supporting roles, and the reason for this is that many of the famous artists who collect these famous masterpieces are Shanghai collectors.
Calligraphy works of Su Shi of the Song Dynasty on display
Ming Dynasty Lou Jian (Shanghai Jiading people) Bao Sushi calligraphy works
Zhao Mengfu's calligraphy works are exhibited
In fact, as another dark line in the study of painting history, the collection of calligraphy and painting plays an important role in examining the artistic soil on which artists grow. The third part focuses on the main stages of Shanghai's calligraphy and painting collection in the past 700 years from the end of the Yuan Dynasty to the end of the Qing Dynasty and the beginning of the Ming Dynasty, including "Zhaoxing" (the end of the Yuan Dynasty and the beginning of the Ming Dynasty), "Four Points of the World" (the middle of the Ming Dynasty), the "Peak" (the end of the Ming Dynasty and the beginning of the Qing Dynasty), and the half of the Rivers and Mountains (the end of the Qing Dynasty and the beginning of the Ming Dynasty).
For example, the collection activities in the Shanghai area in the middle of the Ming Dynasty mainly revolved around the four major families represented by "Gu Lu Zhang He", and their territorial distribution was expanded to both sides of the Huangpu River compared with the end of the Yuan Dynasty. A copy of Lu Shen's "Collected Calligraphy and Painting Manuscripts of xingshu" exhibited in this exhibition can be regarded as a collection of Lu's collection. Lu lives in Pudong, is good at calligraphy and painting, and is also a good connoisseur, and has a rich collection at home, but Lu does not like to print inscriptions on his collection, so the details of his collection are difficult to investigate. The Book collection of calligraphy and painting manuscripts is his daily notes, recording the collection between June and September of a certain year, which is particularly important for understanding the historical facts of his collection. It is known that in just three months, Lu Shi collected 89 paintings and calligraphy of the Tang, Song, Yuanming, and Ming Dynasties, of which Wang Wei, Han Gan, Li Gonglin, Guo Xi, Ma Hezhi, Zhao Mengfu, Huang Gongwang, Wang Meng, and other famous artists mainly wrote by them. One of the lu's old collections, Yang Weizhen's "Xingshu Zhenjing An Fundraising Yuanshu" volume, is also exhibited in this exhibition. ”
Yuan Yang Weizhen Xingshu Zhenjing An Collection Partial Collection of Shanghai Museum Collection
Exhibition site
In addition, the Gu family of Shanghai Yuhongguan, as one of the core figures in the Jiangnan Calligraphy and Painting Collection, has collected many famous relics in the sea, such as Gu Kaizhi's "Female History Zhentu" volume, Li Sheng's "Xiaoxiang Lying Youtu" volume, "Jiu Ge Tu" volume and "ShuJiang Tu" volume, Mi Fu's "Shu Su Ti" volume, etc., and is famous for the Yuhong Museum's engraving of "Chunhua Ge Ti". Jiading Qing secretly hid The Zhang clan is Zhang Yingwen. Zhang Yimen had close contacts with Wumen painters, and Wen Zhengming once painted and presented Zhang Yingwen. One of the exhibits in this exhibition is Zhang Yingwen's inscription "Jiangnan Spring Word Map" volume.
The organizers said that with the opening of Shanghai's port and trade in the late Qing Dynasty and the beginning of the Ming Dynasty and the beginning of the country, Shanghai not only became the main position of the Maritime School of Painting, but also an important town for the circulation and dispersion of cultural relics, which also made the best preparation for the establishment of the Shanghai Museum, which was known as the "half of the country" of Jiangnan cultural relics.
Ming Dynasty Dong Qichang (Songjiang ren) "Tianma Fu" part
Ming Dynasty Dong Qichang booklet water album
The "Maritime School" presents modern And contemporary Shanghai fine arts since 1843
The "Maritime School", which is the most well-known in Shanghai, occupies the largest part, a separate exhibition hall that presents modern and contemporary Shanghai art since 1843.
"For the display of modern and contemporary Shanghai art, the general exhibition may start from one or two points, and we have seven or eight points this time, involving publishing, the traditional Shanghai school, the Lingnan school, and the revolutionaries who have had an important impact on the development of modern art in Shanghai, and the influence of Chinese painting on the world in the context of the intersection of East and West." The exhibition also involves the Cenozoic Haipai, Huang Binhong, Qi Baishi, Zhang Daqian, etc., as well as the achievements of printmaking, the movement of Foreign paintings, the collection, and the new Chinese art works from Yan Wenliang to Chen Yifei, which comprehensively show the development process and artistic achievements of maritime art. Ling Lizhong said.
The works on display include the original manuscript page of Wu Youru Dianshizhai Pictorial in the Qing Dynasty, Zhao Zhiqian's "Album of Letters and Letters", "Chrysanthemum Chart Axis", Wang Zhen's "Pang Xuzhai Holding Rabbit Chart Axis", modern Cai Yuanpei's "Xingshu Luyou Dengdongshan Poetry Axis", Chen Duxiu's "Cursive Seven Words", Huang Yanpei's "Xingshu Gradually Eastward Journey" poetry axis, modern Zhang Daqian's "Portrait Chart Axis of Zeng Xi and Li Ruiqing", Lin Fengmian's "Picture of a Lady Holding a Mirror", Bai Shuo's "Molan Chart Axis", Feng Zikai's "Qingqian Qiu Tu Axis", Wu Hufan's "Celebrating the Success of China's Atomic Bomb Explosion", Song Qingling Tribute to the Chinese Communist Party Manuscript Page".
Modern Wu Hufan celebrates the success of China's atomic bomb explosion
In addition, the works of Indian poet Tagore such as "Hsui Chi Mo Shan Shui Lu Xiao Man Inscription Poem Hinge" and Japanese painter Hashimoto Sekiyuki and other works are also exhibited.
Wang Zhen "Pang Xuzhai Hugging Rabbit Chart Axis"
"Pang Xuzhai Holding Rabbit Scroll" is written by Wang Zhen for Pang Yuanji, painting Pang Yuanji holding rabbits in the middle of the year and year. Wang Zhen (1867-1938), Zi Yi Ting, in his early years he studied painting with Ren Bo Nian, had a solid foundation in pen and ink, and in his later years he was more proficient in calligraphy and painting, flowers and fruits, birds and beasts, figures, Buddha statues, omnipotent. Pang Yuanji (1864-1949), the character Laichen, the number of The Void Zhai, Huzhou people, born in Nanxun jufu family, inherited the family tradition, set up an industry, and is known for the fine collection of calligraphy and painting cultural relics. There is an inscription of Wu Changshuo on the painting, and the "Wang Painting Wu Inscription" was once known as "Double Bi on the Sea". The cooperation between the two is of great significance to the enhancement of the social influence of the maritime calligraphers and painters group and the development of Shanghai school art in the Republic of China period.
Indian poet Tagore presented "Hinge of Xu Zhimo Landscape and Land Small Man Inscription Poem"
The Indian poet Tagore presented "Xu Zhimo Landscape and Land Small Man Inscription Poem Hinge" as if it were a thick and silent hill, and the pulsating pen and ink seemed to express its silent desire, or it did not matter what the painting was, it was just the poet's temporary spiritual expression. Tagore visited China three times, came to Shanghai three times, and among his receptionists were Xu Zhimo, and the two poets formed a deep friendship. Lu Xiaoman inscribed on the album page: "This painting was when Tagore lived in my house when he came to China for the second time in 1927, and one day after dinner comrade Mo chatted and talked about the benefits of the Chinese pen, so he picked up the pen, tried it for the first time, and casually drew a souvenir sketch to give to us." After many years, many other souvenirs have been lost, and it is a pity to find only this one. In 1958, Lu Xiaoman remembered again. ”
Lu Yushao "Brave to stand on the tide head" chart axis
The exhibition also exhibits Lu Yushao's "Courage to Stand on the Tide", which symbolizes the innovative spirit of our city's Brave Tide. This work is also one of the 14 works donated by Lu Yushao to Shangbo.
Liu Haisu, Xia Yiqiao, Wu Dongmai, etc. "Ten Thousand Years of Changchun" chart axis
The exhibition ends with the scroll of "Ten Thousand Years of Eternal Spring". According to reports, this painting was made by famous maritime artists Liu Haisu, Xia Yiqiao, Shen Maishi, Lu Weifei, Wu Dongmai, etc. to celebrate the 35th anniversary of the founding of the Communist Party of China. The title of the exhibition is derived from this work. It is worth mentioning that this work is a new collection of works collected by Shangbo last year in preparation for this exhibition.
Exhibition site
Video introduction of the exhibition site, Yuan Dynasty Ren Renfa part
It is reported that the exhibits in this exhibition are mainly from the collection of Shanghai Museum, and some important collections come from Shanghai Library, Shanghai Municipal History Museum (Shanghai Museum of Revolutionary History), Shanghai Chinese Painting Institute, Shanghai Song Qingling Former Residence Memorial Hall, Shanghai Lu Xun Memorial Hall, Jiading Museum and other lending units. The exhibition will run until September 21, and will be re-exhibited on August 9, in which Lu Kam's "Five Words and Lanting Poetry Scrolls" will be on display until July 1. During the exhibition, the Shanghai Museum will also hold the "International Academic Symposium on Calligraphy and Painting on the Sea for a Thousand Years" from September 16 to 17, at which experts and scholars will be invited to discuss the art of calligraphy and painting and related art history in Shanghai, as a good starting point for the academic sorting out of the "Maritime Calligraphy and Painting Museum" in the East Hall of the Shanghai Museum, and jointly promote the further deepening of art history research.
Editor-in-Charge: Li Mei
Proofreader: Yan Zhang