On March 9, 2022, the "Shengshi Fanghua - Shanghai Museum Donated Cultural Relics Exhibition" opened at the Shanghai Museum, which is another donated cultural relics exhibition of the Shanghai Museum after last year's "Prosperous Thousand Autumns" and "Gaoshan Mountain Tour", and is also one of the series of activities for the 70th anniversary of the establishment of the Shanghai Museum this year.
The development process of Shangbo in the past 70 years is inseparable from the righteous deeds and love of countless donors. Generations of Shangbo people have insisted on sharing the treasures donated by holding exhibitions with the world, and in order to recognize and commemorate donors. In addition to the permanent exhibition, "Sheng Shi Fanghua" is the 33rd exhibition of donated cultural relics held since the establishment of the Shanghai Museum.
By the end of 2021, the Shanghai Museum has a collection of more than 1.02 million cultural relics and more than 140,000 precious cultural relics. Among the cultural relics in the collection, more than 88,000 are donated by people from all walks of life, including more than 33,000 precious cultural relics and more than 55,000 general cultural relics, accounting for about 8.6% of the total collection of cultural relics and 23.6% of the total collection of precious cultural relics, including individuals and collectives. So far, the number of donors to the Shanghai Museum has exceeded 800, more than 120 collective donations, and more than 1,200 batches of cultural relics have been donated.
Exhibition site
This exhibition brings together 195 donated cultural relics, covering calligraphy and painting, bronze, jade, seals, bamboo carvings, sculptures, ceramics, coins and other categories, so as to pay high tribute to all donors, cultural workers and people from all walks of life who care about and support the development of the Shanghai Museum.
Looking back at the history of the donated cultural relics in the Shanghai Museum, it can be traced back to before the establishment of Shangbo. On September 7, 1949, the Shanghai Municipal Military Control Commission approved the establishment of the Shanghai Ancient Cultural Relics Management Committee; on January 20, 1950, the Shanghai Municipal People's Government approved the renaming of the Shanghai Municipal Ancient Cultural Relics Management Committee to the Shanghai Municipal Cultural Relics Management Committee, and prepared to build a "museum with scale to represent China's excellent cultural traditions" in Shanghai. To this end, cultural relics collectors actively devote themselves to the cultural construction of New China through donations. A large number of collectors, represented by Hu Huichun, Pan Dayu, Tan Jing, Shen Tongju, Gu Lijiang, Le Duzhou, Sun Yufeng, Ding Xierou, Luo Bozhao, Li Weixian, etc., enthusiastically donated cultural relics to the Shanghai Municipal Cultural Management Commission and the Shanghai Museum, forming the first climax of cultural relics donation in the 1950s and 1960s.
Donors in this period also included Xu Senyu, Wu Zhongchao, Xie Zhiliu, Chen Zhi and other organizers and leaders of the early cultural and cultural undertakings, who on the one hand planned and planned the blueprint for the development of the industry, and on the other hand used specific actions to influence, mobilize and call on the masses and collector groups, support the cultural relics protection decrees and cultural relics collection policies promulgated by the party and the people's government, and support the work of the cultural relics museum.
Since the reform and opening up, feeling the rapid development of the country's construction in all aspects, many collectors have generously donated their collections for many years, including the cultural relics returned by the implementation of the policy, to the Shanghai Museum, which has greatly enriched the collection of the Shanghai Museum, consolidated and enriched the collection system, and thus led to the second climax of cultural relics donation. Overseas Chinese who have lived in Shanghai have also donated their cherished cultural relics to the Shanghai Museum.
The donated cultural relics on display this time include Wang Anshi's "Xingshu Leng Yan Jing Zhi Volume", Xiaochen Shan Chen, Wen Peng's "Seventy-Two Peaks Deep" tooth seal, Wu Wangfu Chalu and Shen Zhou's "Lindai Wenjin Xie Andong Mountain Map Axis".
Wang Anshi's "Xingshu Lengyan Jing Zhi Zhi Volume" (Partial)
Wang Anshi's "Xingshu LengYan Jing Zhi Volume" was donated to Wang Nanping and Fang Shuyan in 1985. In the middle of the main book, there are lines of books, light ink books, clear strokes, although the lines are tight, there are few blanks, but there is no sense of chaos. Its use of the pen seems to be casual, but it has the charm of idleness and dissipation. The volume is self-signed "Yu Gui Zhong Shan, Michihara False Leng Yan Ben, Hand Self-Correction, Carved Temple, Shi Yuanfeng Eighth Year (1085) April 11 Linchuan Wang An Shi Shu Shu Shu Shu." "Personally corrected the text of the Lengyan Jing for the year before Wang Anshi's death. At the end of the volume, there are inscriptions by the Southern Song Dynasty Mou Xianzhi, Yuan Wang Meng, Ming Xiang Yuan Bian and others. It was once collected by Yuan Chen Weiyin, Ming Xiang Yuanbei, Qing Anqi, Cao Rong and others.
The young minister is single-handed
Xiaochen Shan Wasan donated to Li Yinxuan and Qiu Hui in 1979. The inner sole of his abdomen has four lines of 22 characters, and the inscription records that ChengWang suppressed the Wu Geng rebellion, Wang Shi was stationed in Chengshi, and the Duke of Zhou rewarded the young minister Shan Bei Shipeng, and Inz cast this instrument.
Wen Peng "Seventy-two Peaks Deep" tooth seal
Wen Peng's "Deep Seventy-Two Peaks" tooth seal was donated by Hua Du'an and Mao Mingfen in 1983 and was sealed by the Ming Dynasty seal carver Wen Peng. The printed text cloth is white and uniform, the lines are thin and round, elegant and generous, and there is a cursive version of the word "Wen Peng" on the left side of the tooth seal. It is one of Wen Peng's masterpieces and a famous product in the history of Chinese literati seal carving. The "Deep Of the Seventy-Two Peaks" tooth seal was discovered during the War of Resistance Against Japanese Aggression and was once the old collection of Gaoluo Garden in Hangzhou, and later returned to Hua Du'an. In September 1983, Mrs. Mao Mingfen, Mrs. Hua, donated more than 1,500 Ming and Qing seals to the Shanghai Museum in accordance with her will.
Wu Wangfu cha-luo
Wu Wang Fu Cha He Hongzhang donated in 1996, there is an inscription on the shoulder twelve characters, the content is "Wu Wang Fu Cha Wu Jin Cast Woman's Instrument Ji", that is, Wu Wang Fu Cha used bronze for a woman cast. Fu Cha reigned for only 23 years, and most of the surviving relics seen so far are weapons (swords, spears) and jian, which have not been seen and circulated in the past, and are extremely precious. The lid and the belly of the vessel are decorated with a cloth of extremely fine dragons intertwined with the head and tail, and the hollow beams reflect each other, forming a gorgeous and meticulous visual effect. The hollowed-out beams of the cups were cast by the lost-wax method, and the decorations on the lids and utensils used the popular stamping technology at that time, reflecting the casting copper process in the southern Wuyue region (present-day Jiangsu and Zhejiang) at that time.
Shen Zhou's "Lindai Wenjin Xie Andong mountain map axis"
Shen Zhou's "Lindai Wenjin Xie Andong mountain map axis" was donated by Weng Wange in 2019 and was composed by Shen Zhou when he was 54 years old. The work is copied from dai jin, a famous painter of the Zhejiang school who was slightly earlier than him, "Xie An Dongshan Map", depicting the scene of the famous Eastern Jin Dynasty prime minister Xie An indulging in the landscape when he lived in seclusion in Dongshan. Shen Zhou's landscape painters Huang Gongwang and Wu Zhen of the Yuan Dynasty traced back to the five dynasties of Dong Yuan and JuRan, while Dai Jin's patriarchal painters were Ma Yuan and Xia Gui of the Southern Song Dynasty, in terms of style, one is the tradition of southern landscape and ink painting, and the other is the tradition of northern landscape and court color painting. Shen Zhou's paintings imitate Yuanren, and this painting style is both a lonely piece and a strange work in his works, which is unique.
Yang Zhigang, director of the Shanghai Museum, said that the completion and opening of the East Hall of the Shanghai Museum has entered the countdown, and the Museum Building on People's Square will usher in the first closed overhaul after the establishment of the museum. Therefore, what "Shengshi Fanghua" brings will also be a deep look between the museum and the audience before the temporary departure, and a heartfelt speech. In the future, in the East Hall and the People's Square Hall, which has completed the overhaul, the exhibition of various donations will continue. The museum comes from the people, serving the people, is our unchangeable original intention.
Taking this exhibition as an opportunity, the Shanghai Museum also specially planned and produced a documentary with the theme of reviewing the donations and donations since the establishment of the Shanghai Museum, "Mountains and Rivers", through precious historical images and archival materials, interviewing representatives and descendants of domestic and foreign donors, promoting the donors' feelings of home and country, and triggering the cultural identity and resonance of the audience.
The exhibition will last until September 4, and the calligraphy and painting exhibits will be divided into the first and second half.
"Sheng Shi Fanghua - Exhibition of Cultural Relics Donated by Shanghai Museum"
Exhibition time: 2022.3.10—2022.9.4 (closed on Mondays, except national holidays)
Exhibition venue: The second exhibition hall on the second floor of the Shanghai Museum
Morning News, Weekly APP reporter Zhan Hao
Source: Morning News