Napoleon Napoleon
"Lin Xia Feng ya - the Palace Museum's collection of historical figure paintings special exhibition (phase II)" these days continue to attract attention, such exhibition planning and presentation of what breakthroughs? What inspired the curation of paintings and calligraphy today?
What are the new ideas in the planning of the "Jijin YaoHedong - Shanxi Bronze Civilization Special Exhibition" of the North SaiKler Museum of Archaeology and Art?
The "Review" column of The Paper's Art Review focuses on these two major exhibitions in Beijing. This column submission email: [email protected], the email subject please indicate "appraisal exhibition".
Lin Xia Fengya - Special Exhibition of Character Paintings from the Past Dynasties collected by the Palace Museum (Phase II)
Exhibition period: September 1 - October 31, 2021
Venue: The Palace Museum WenhuaDian Calligraphy and Painting Museum
Comments: As a national treasure, the Jin, Tang, Song and Yuan calligraphy and painting are themselves delicate and not many, and the popular choice of calligraphy and painting exhibitions in recent years is often to make the base of Jin, Tang, Song and Yuan calligraphy and painting larger. So what happens when it gets bigger? This period of the Forbidden City's calligraphy and painting exhibition gradually adjusts the perspective from upward to head-up, changing the traditional "values" of judging calligraphy and painting exhibitions. Although there are still few academic excavations, it is still worthy of praise.
Rating: Four stars
Both curators and viewers have always shown a strong interest in the exhibition of ancient Chinese paintings and calligraphy, so that the number of such exhibitions has always been at a high level. In terms of quality, there are very few calligraphy and painting exhibitions that can make all parties reminisce for a long time and be cited as classics. Judging from the "Good Calligraphy and Painting Exhibition" in the past 20 years, such as the "Jin, Tang, Song, and Yuan Calligraphy and Painting National Treasures Exhibition", "Han mo Gathering - American Collection of Ancient Chinese Calligraphy and Painting Treasures Exhibition", "Shiqu Baodi - Special Exhibition of the 90th Anniversary of the Palace Museum", etc., are mostly collected national treasures such as the Jin, Tang, Song and Yuan Dynasties, and carried out according to the mode of content planning multiple theme units, with the most dazzling and eye-catching collection of national treasures, detonating social hotspots and attracting public attention to ancient calligraphy and painting.
The Shanghai Museum's "Special Exhibition of Dong Qichang's Calligraphy and Paintings" and "Special Exhibition of Calligraphy and Painting on the Sea for a Thousand Years" pay more attention to academic combing and presentation.
The recently opened Palace Museum in Beijing, "Lin Xia Feng Ya - Special Exhibition of Calligraphy of Past Dynasties in the Collection of the Palace Museum (Phase II)", did not follow the above path, but it is also a good exhibition. The special exhibition selects 76 paintings that reflect the anecdotes and elegance of the literati, showing the daily life and spiritual world of the literati. Among them, there are 12 paintings and calligraphy from the Five Dynasties to the Yuan Dynasty, accounting for about 16%. These low proportions of pre-Yuan paintings played a key leading role, leading more paintings from the Ming and Qing dynasties, showing the hermitage and elegant life of the literati.
Southern Song Dynasty Li Tang "Tsevi Tu"
Baume & Mercier demeanor. "Cewei Tu" is one of the few authentic works of the Southern Song Dynasty Li Tang, Bo Yi and Shu Qi have a clear face but a resolute gaze, the tree stones are vigorous with a pen, and the book has a sense of knowledge, which is undoubtedly his masterpiece. Ming Daijin's "Four HaoTu of Shangshan Mountain", Cui Zizhong's "Li Baizang Cloud Map" and Qing Shitao's "Character Story Map" followed closely behind, and also planned the theme of Tao Yuanming with a long exhibition line, bringing together Ming Wang Zhongyu's "Tao Yuanming Portrait" and Zhang Feng's "Yuanming Smelling Chrysanthemum" and other character paintings, showing the choices of celebrities in terms of retirement and moral cultivation.
Ming Zhangfeng "Yuanming Smell chrysanthemum chart axis" (partial)
In terms of ya assembly society. Lanting Yaji, "Xiangshan Jiulao" Shangyahui, Liulitang Wenhui, Xiyuan Yaji, Yushan Yaji, these themes reflecting the theme of retreat, intercourse, poetry, feasting and drinking are all absent, of which two volumes of Song paintings attract countless powder, one volume of five generations of Zhou Wenji "Liulitang Character Map" on the false propaganda and seals, more like the Northern Song Painting Academy copying the wind, causing some viewers to exchange ears, a volume of "Shiqu Baoji Continued Compilation" written by the Song people in the style of Liu Songnian "Huichang Jiulao Tu", is the song of the same motif of the Song people, the most refined, is the song of the same motif. Later, there is a long cursive title of Zhao Zhaoxing's calligraphy that is very wonderful and can be called a representative work, and then there is a volume of Ming Wen Zhengming 'Lanting Xiu Zen Diagram and Book Lanting Preface' painted on a large gold note, which is very cute, a shaft Ming HaoJing's "Hermitage Map" has Dong Qichang's important inscription is very rare, and a volume of "West Garden YajiTu" is Ming Chen Hongshou's brilliant pen is very precious. Unfortunately, the Yushan Yaji is only displayed on the axis of the Qing Dynasty's "Yushan Guan Pictorial Map", and if it is supplemented by the Forbidden City's treasured Yushan Caotang relics "Cloud Stone", the above Gu Aying, Yang Weizhen, Zhang Yu, Zheng Yuanyou, Zhang Shi, Gu Xuan, Dong Qichang and others will inscribe the theme of the Yaji, which has the feeling of "one son falling and all living", which will add a lot to the connotation of the exhibition.
Song Gaozong Zhao Shuo calligraphy inscription "Song Anonymity Huichang Jiu Lao Scroll"
MingWen Zhengming "Lanting Xiu Zen Diagram and Book Orchid Pavilion Preface" (partial)
The elegant aspect of life. The Northern Song Dynasty Painting Academy's "Listening to the QinTu" before the "Door Courtyard Ruoshi" shows the function of Song painting in the exhibition, zhao tuo and Cai Jing's "listening to the strings without strings" of the same frequency resonance monarch-subject relationship, at that time tuning the piano to appreciate music, burning incense to listen to the wind, arranging flowers and appreciating stones, the high-level court life, became the focus of discussion among viewers. The song people's "Lu Tong Cooking Tea Map" was composed by Liu Songnian, although it was not his own hand after research, but it was undoubtedly a good composition for the Song people, and together with Yuan Wang Zhenpeng's "Boya Drum and QinTu", Ming Ding Yunpeng's "Yuchuan Boiling Tea Map", Qiu Ying's "Bamboo Courtyard Pin Gu Tu", Chen Hongshou's "GuanHua Tu", and Qing Dong Bang Da Hong's "Tang and Song Dynasty Plum Blossom Poetic Intentions", it formed a lineup of exhibits led by the National Treasures of the Song and Yuan Dynasties, and the dynasty ran from the Song dynasty to the Qing Dynasty and ran vertically and horizontally for more than 800 years, which has a high index of viewing and playing, and is a useful attempt to do a good job in the theme of calligraphy and painting exhibitions.
"Listening to the Piano Diagram" (Partial)
This time, the consciousness of revitalizing "Song painting" is prominent. As we all know, the concept of Song painting includes real Song painting and "pseudo-good things", and there are famous masterpieces and anonym masterpieces in real Song paintings, and there is a difference between good and bad in appearance. As far as the Forbidden City in Beijing is concerned, famous masterpieces such as guo xi of the Northern Song Dynasty's "Pingyuan Tu of The Stone", anon. such as the Southern Song Dynasty's "Han Xizai Night Feast", and the southern Song Dynasty Ma Lin's "Layered Ice Silk Map" and other real Song paintings have become classics with decades of effort. However, according to the traditional academic point of view, on the one hand, such as the Northern Song Dynasty Li Gonglin (biography) in the exhibition, "Seven Sages of the Bamboo Forest" and "Longmian Mountain Villa", as well as the so-called Song people's "Bamboo Forest Dialing Ruan Map" and "Southern Tang Wenhui Map" pages, which are commonly used as cases of falsification, on the other hand, according to the traditional display vision, like the previous unveiling of the exhibition "Huichang Jiu Lao Tu" and "Lu Tong Cooking Tea Map", these dark and dark anonym Real Song Paintings, as well as the famous Song Ren's "Bamboo Burning Incense Map", are all perennial can not see the true appearance, this time they have been displayed. It can be said that it refreshes the concept of options, revitalizes the collection resources, and gives full play to the leading value of the Song painting brand.
Tang Luyao (biography) "Six Yi Picture Scrolls" (partial)
The inscription of the "Six Yi Picture Scrolls"
This time, the Tang Dynasty Lu Yao (biography) "Six Yi Picture Scroll" for the first time on display is particularly eye-catching, one is as a copy of the Tang Dynasty famous hand painting work, the natural, concave and convex smudge dyeing technique of the Wei and Jin dynasty, the ancient clumsiness, permeated with high antiquity, the charm is long, very rare; the second is to cut apart the remaining few Song inscriptions, one of the Northern Song inscriptions belongs to Lü Dalin, who authored the "Archaeological Map", is the "originator of Chinese archaeology", one is the Southern Song Dynasty painting dragon master Chen Rong after drinking, and after writing poems, there are "high mouths and groans, and a smile after thousands of years". Or it is awe-inspiring, or it makes people "laugh after thousands of years", which can be described as the true interest of calligraphy and painting appreciation; the third is the absurd and half-naked men of the Wei and Jin Dynasties who "teach more than the name and let nature go", which is regarded as a negative model by later generations of scholars in the inscription, and the difference in the background of the times is amazing. At the same time, the picture of Bian Shao Wujing Yi in the painting, as the "mother" of the motif, transformed into many "descendants" paintings, and WeChat also appeared in the "Liu Yi Tu" "Lying Flat" series of emojis, which could not help but feel kind for the first time.
Having always looked up to the collection of national treasures and ignoring the rich collection resources outside this, of course, it is a loss of equal rationality, which is even more unfavorable to popularizing knowledge and opening up people's wisdom. It is very necessary to create a good calligraphy and painting exhibition road with a low proportion of national treasures, guide the viewer to adjust the perspective from looking up to looking up, change the traditional "values" of judging calligraphy and painting exhibitions, look at ancient Chinese paintings and calligraphy in an equal and rational and scientific manner, and build a special exhibition ecosystem of calligraphy and painting with a more diversified value system and more diverse service objects.
"Lin Xia Fengya - The Palace Museum's Special Exhibition of Character Paintings of Past Dynasties (Phase II)" is exactly such an attempt, compared with the depth of academic excavation of the special exhibition of calligraphy and painting in the Shangbo series, although there are shortcomings in this regard, it is still worthy of praise.
Jijin Yaohe East - Shanxi Bronze Civilization Special Exhibition
Exhibition period: July 1 - October 15, 2021
Venue: Sackler Museum of Archaeology and Art, Peking University
Comments: This exhibition pays attention to the integrity of the academic system, intends to comprehensively display the development of bronzes, and takes archaeology as the curatorial idea, adding interest and interactivity to the exhibition. The Shanxi Bronze Ware Exhibition was exhibited at Peking University, which began with an emotional and fate, reminiscent of the archaeological past of Peking University.
Shanxi is becoming a large province exporting ancient Chinese bronze culture. The basic display of "Jinguo Hegemony" in Shanxi Museum has been designed and upgraded, and the modern artistic lighting has enabled the 600-year-old great cause of Jinguo to be displayed in an epic way. The Shanxi Bronze Museum completed the content integration, and the Shanxi Jijin Guanghua, the pre-Qin ritual music system and the bronze Fanzhu "black technology" were systematically displayed. The Taiyuan Jinshang Museum of the Republic of China style gathers back bronzes and connects the Jinshang culture. In addition to strengthening and enlarging the bronze culture of the province, Shanxi also pays attention to external exports.
In 2021, two bronze age exhibitions about Shanxi in Beijing will enter Peking University and Tsinghua University. Among them, the "Jijin Yaohe East - Shanxi Bronze Civilization Special Exhibition" has been opened. Compared with the provincial exhibition, the special exhibition emphasizes the secondment across the collection unit, pays more attention to the integrity of the academic system in content, and intends to comprehensively display the development of bronze.
This bronze jue collected by the Yuncheng Museum was found in Peijie Town, Xia County, Shanxi, and its shape is similar to that of the bronze jue excavated at the Erlitou site, which is the missing bronze of the Xia Dynasty in many museums known for its bronze collection. It was originally mistaken for the early work of the Shang Dynasty, and this was the first time that this lord appeared as a "new identity" of the Xia Dynasty bronze ware.
There are many people who know that Henan is the birthplace of Erlitou culture, and few who know that Shanxi is also the birthplace of bronze culture, because the only few original bronze artifacts of Erlitou culture at the site of Tao Temple are hidden in Beijing. From the perspective of the exhibition, the physical evidence of Shanxi in the period of the origin of bronze culture has been lacking for a long time. A piece selected by the Yuncheng Museum in Peijie Town, Xia County, Shanxi, has always been considered to be a cultural object of the early Shang Dynasty, and in recent years it has been considered that its shape is similar to the bronze Jue excavated from the Erlitou site, which is the missing Bronze Ware of the Xia Dynasty in many museums known for its bronze collection, and is the "root" of telling the story of Shanxi bronze. For the first time, this lord appeared as the "new identity" of Xia Dynasty bronzes, which can be described as "a son falling and full of life", which not only improved the bronze cultural system in Shanxi, but also made the special exhibition of Peking University", which became the third exhibition with a complete reflection of the bronze cultural system after the Henan Museum and the Shanghai Museum.
The phoenix-patterned square gui in the collection of the Linfen Museum in Shanxi was excavated in 2002 at the Pangdu site in Yaodu District. There are only two Bronze Age fanggui in the whole, and the other is hidden in the National Palace Museum in Taipei, which is the only one visible on the mainland.
In recent years, Shanxi Xia Shang and two weeks of archaeology have made major breakthroughs - "early", "large scale", and "high degree of specialization" of the Western Wubi Xia Shang copper smelting site in Daixian County, filling the gap in China's metallurgical archaeology; Wenxi Liquor Head Shang Dynasty "Hidden" cemetery, the discovery of 5 "A" shaped tombs, updating the academic community's understanding of the Shang Dynasty's sphere of influence and the national political geography structure; Linfen Yaodu District Pang Du tomb age Shang and Western Zhou Liang said, this time personally saw the only phoenix pattern on the mainland, confirmed that the age is the early Western Zhou Dynasty, ornaments and " Shigushan style "related; Daixian Hengshui Weiguo Cemetery, Yicheng County Dahekou Baguo Cemetery, Yuanqu North White Goose Yanzhong Family Cemetery for scholars to relish, human animal-shaped and dignified "Qi", reflecting the political marriage of the "storage tank" Yanhou Zhiji, Zhao family Taibao Yanzhong family "makeup box" are exhibited - this adds to the exhibition's interest, interactivity, showing Shanxi's emphasis on foreign exhibitions, highlighting the leading role of archaeology in the exhibition, forming "archaeology to do content, integration to set up a stage, popularization for the purpose" Ideas for organizing exhibitions.
In Houma City, Shanxi Province, a large number of Jin dynasty workshop sites have been discovered, of which the most important is the cast copper site. In 1957, more than 30,000 pieces of pottery van of cast bronze were excavated, more than 1,000 pieces of recognizable type, and more than 100 pieces of complete or matching pieces. In 2003, although the Baidian H15 was seriously damaged, 1100 pieces of pottery fan and pottery mold were still found, which was speculated to be the storage site of tao fan. The Pottery Fan pattern of the Houma copper casting site covers most of the known Jin-style bronzes from the Spring and Autumn period to the Warring States period, and many scattered Jin-style bronzes have also been confirmed.
Fang Ding, the first emperor of the Jin Dynasty, Shuyu Fangding. It is now in the collection of the Sackler Museum of Archaeology and Art, Peking University
Archaeology makes the "Jijin Yao Hedong" special exhibition the first special exhibition of Shanxi bronze civilization with a complete system and bright spots. However, in the process of watching, I also felt that some archaeological discoveries and academic achievements were missing. For example, the peak of bronze art in the Eastern Zhou and Jin Dynasties is concentrated on the artifacts excavated from the tomb of Zhao Qing in Jinsheng Village, Taiyuan, and the major archaeological discoveries of the real number of the 20th century will affect the integrity of the exhibition in archaeology, art and bronze culture. For another example, the exhibition is following the 2008 "Miracle Heavenly Craftsmanship: Ancient Chinese Inventions and Creation Cultural Relics Exhibition" and the 2009 "Model China - Techniques, Shapes and Patterns of Shang zhou bronzes", another exhibition with "point" with a surface to show bronze casting, but Baidian H15 unearthed pottery fan, pottery mold only achieved a preliminary display, in recent years" "jump out of archaeology to see casting", from the dimensions of metallurgical archaeology, industrial design, industrial chain upstream and downstream, the lack of results in the production of Houma Jin style bronze, it has to be said that it is a pity.
Animal archaeologists initially judged that it may be a "sheep scorpion"
Looking at the M114 Uncle Yu Fangding and M8 Jinhou Fanghu in the exhibition hall, I can't help but remember the fruitful results of Peking University and Shanxi Archaeology in carrying out cultural relics and archaeology work in Shanxi since 1950, and also remember the representative figures of Peking University Shang zhou archaeology - Mr. Zou Heng once encountered dangers with the gang of gun robbers here, and also participated in the excavation here as "Peking University people" for many leading figures of Shangzhou archaeology in various provinces and cities. Shanxi bronzes are exhibited at Peking University, starting from a period of emotion and fate, as the viewer is deeply moved by this, this is the strongest resonance between the exhibition and the viewer, but also a warm moment of full interaction between the exhibition and the public.
Editor-in-Charge: Lu Linhan
Proofreader: Yan Zhang