Little Rhino finishing
"Gaoshan Mountain Tour - Exhibition of Donated Cultural Relics of Shanghai Museum" is being exhibited at the Shanghai Museum. Behind each exhibit is a donation story that is either widely praised or unknown. Among the donors are 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., as well as organizers and leaders of early cultural and cultural undertakings, including Zheng Zhenduo, Xu Senyu, Wu Zhongchao, Xie Zhiliu, Chen Zhi, and other early cultural and museum undertakings. The Paper specially invited Zhang Dong, deputy director of the Preservation Department of the Shanghai Museum and a research librarian, to interpret the donation story behind the exhibits, which will be published in two parts: (top) and (bottom).
The exhibition begins with a han dynasty portrait brick donated by Mr. Zheng Zhenduo in 1956. This is a very typical Han Dynasty portrait brick, and it is also the first exhibition, reflecting the old gentleman of Zheng Zhenduo's generation as the organizer and leader of the cultural and cultural circles to play a leading role in his own collection, donating important cultural relics in his collection to help lay the foundation for the collection of the Shanghai Museum in the early days of the museum.
Mr. Zheng Zhenduo donated a Portrait Brick of the Han Dynasty in 1956
Portrait bricks of Han Dynasty figures donated by Mr. Zheng Zhenduo in 1956 (partial)
Zheng Zhenduo served as the first director of the Cultural Relics Bureau of the Ministry of Culture of the People's Republic of China, and made important contributions to the protection of cultural heritage and the cause of cultural heritage. He was also a versionist, epigrapher, and philologist, donating a large number of ancient pottery and nearly 100,000 ancient books to the state in his collection.
Next to the Han Dynasty portrait bricks are the Ji-shaped Yu Yantai donated by Mr. Xu Senyu, the "Yanta Three Tibetan Sacred Religious Orders", and Huang Shiling's "Eight Words of the Seal Book", which also fully reflect Xu Lao's personal aesthetic taste and feelings.
Xu Senyu is a famous Chinese cultural relics expert, epigrapher, versionist, and early planner of the Shanghai Museum, the director of the Shanghai Museum. In the past hundred years of China's cultural and bo industry, almost all of them have Xu Senyu's participation and contribution, out of respect for his education and respect for people, people have long called him "Sen Lao". After the founding of the People's Republic of China, it was also called a "national treasure".
In his later years, Xu Senyu
Xu Senyu participated in the preparations for the establishment of the Shanghai Museum and the Shanghai Library. He used his relationship with domestic collectors and his own identification expertise to go all out to collect cultural relics, visit cultural relics and rare books, and acquire a large number of rare treasures for museums and libraries.
Xu Senyu (second from left) identifying cultural relics
During his tenure as director of the Shanghai Municipal Cultural Relics Management Committee and director of the Shanghai Museum, Xu Senyu collected the "Duck Head Pill Thesis" of the Jin Dynasty, Tang Huaisu's "Bitter Bamboo Shoot Thesis", Song Sima Guang's "Handwriting", Song Sushi's "Wen Tong He Volume", Song Tuo's lonely copy of "Fengshu Thesis", "Yu Gutai Ti" and Tomorrow's "Luoxuan Change Ancient Notes", all of which are rare treasures.
Xu Senyu also donated his most beloved collection to Shanghai, and has donated his collection of calligraphy and paintings, ancient books, rubbings and other collections to the Shanghai Cultural Management Association and Shangbo four times.
A ji-shaped stone platform donated by Xu Senyu
Xu Senyu donated the "Preface to the Three Sacred Teachings of the Wild Goose Pagoda"
It is also interesting that the cultural relics donated by Mr. Zheng Zhenduo and Mr. Xu Senyu are displayed side by side in this exhibition, because Mr. Zheng Zhenduo, Mr. Xu Senyu and others worked hard together to protect and rescue cultural relics from smuggling and outflow. Xu Senyu is known as a "national treasure", and the earliest person to call Xu Senyu a "national treasure" is Zheng Zhenduo.
The exhibits also include fragments of geometric pattern embroidery of red silk birds and beasts from the Han Dynasty donated by Mr. Ma Heng to the Shanghai Museum in 1953. The fragments of the color embroidery vary in size, totaling 28 pieces. Embroidered patterns include birds and beasts, triangular geometric patterns and curves. Embroidered with a very delicate and exquisite lock embroidery stitch method, the embroidery thread color is yellow, grass green, turquoise, vermilion and other colors.
Ma Heng donated to the Shanghai Museum in 1953 a fragment of geometric pattern embroidery of the Red Silk Bird and Beast of the Han Dynasty
Mr. Ma Heng is a jinshi archaeologist, calligrapher and seal engraver, and former director of the Palace Museum. He devoted his life to the study of epigraphy and is known as the "precursor of modern Chinese archaeology".
Ma Heng
During the War of Resistance Against Japanese Aggression, Mr. Ma Heng presided over the maintenance of the cultural relics of the Palace Museum's westward relocation. After the victory of the Anti-Japanese War, he presided over the demobilization of the Palace Museum and the work of relocating cultural relics from the west to Nanjing. On the eve of the liberation of Peiping, in order to ensure the safety of the forbidden city's buildings and cultural relics, he insisted on the post of president and appealed to the Celebrities to the Kuomintang authorities to avoid war and protect the ancient cultural city of Peiping. After the liberation of Peiping, he continued to serve as the director of the Palace Museum. In 1952, he was transferred to the chairman of the Beijing Cultural Relics Consolidation Committee.
In 1952, Mr. Ma Heng donated a large number of oracle bones, inscriptions and other cultural relics from his collection to the Palace Museum. After his death, his family followed the instructions to donate more than 9,000 pieces of the family's collection of gold and stone extensions to the Palace Museum.
In the 1990s, Wang Yiping studied at his home on Hunan Road in Shanghai.
The donor, Mr. Wang Yiping, was the secretary of the Shanghai Municipal Party Committee and also briefly served as the director of the Shanghai Museum, and during the "anti-rightist" period, he protected many shanghai museum employees. His interactions with Lin Fengmian, Pan Tianshou, Tang Yun, Xie Zhiliu and his wife, who love art, have also achieved a period of good stories. In the late 1990s, Wang Yiping visited the museum repeatedly to measure and ensure that the collections he planned to donate to the museum could meet the collection standards, and he has since donated the collections to the country, including friends and family. He has donated his collection of calligraphy and paintings, porcelain, seals, ancient books and handicrafts to the Shanghai Museum four times. After scattering almost all the collections, the collection seemed to him to have become a passing smoke cloud and disappeared.
His son Wang Shisi recalled his father's collecting life and mentioned, "Collecting is a very expensive hobby, the father's economic source for buying collectibles is entirely wage income, monthly salary of more than three hundred yuan, deducting party fees, rent, utilities and nanny wages, the balance of more than two hundred yuan is almost all used for collection, while the whole family shrinks food and clothing, by the mother's salary (more than 140 yuan) to maintain daily expenses, if half of the father's collection is cut out of the family expenses by the mother, it is not exaggerated."
In 1994, Wang Yiping (center) and Gu Mu (left) enjoy calligraphy and painting.
With China's economic reform and opening up to the outside world, the rapid development of the economy, the price of cultural relics and artworks has also risen, with the father's salary income is no longer able to buy collectibles, at this time the father basically stopped all collection behavior, and began to sort out the collection by himself. ”
This exhibition exhibits his old collection of Wen Zhengming's "Bantang Smoke Moon Chart Axis", "Xu Wei Small Statue Axis", Gao FenghanMing Jade Belt Pond Duanyan, Yi Bingshou Ming Hanbi Duanyan and so on. These collections also reflect Mr. Wang Yiping's personal artistic accomplishment.
Wen Zhengming donated by Wang Yiping "Bantang Smoke Moon Chart Axis"
Wang Yiping donated "Xu Wei Small Portrait Axis"
Wang Yiping donated Gao FenghanMing jade with Chi Duanyan
Wang Yiping donated the Qing Dynasty Yi Bingshou Ming Half Bi Duan Yan
The inscription on the box of "Yi Bingshou Ming Half Bi Duan Yan" is "Xianyang Prefecture Gong Ban Bi Yan", because Yi Bingshou was once the Taishou of Yangzhou, so it is called "Yangzhou Gong", "Xian Yangzhou Gong" is the honorific title of Yi Bingshou by his descendants. Yan is half-shaped, and it is like the pan pond in front of the ancient xuegong, so there is a saying that "the half-bi bending ring is pan water". Si Yan has two inscriptions, one of which was written in the 9th year of Jiaqing (1803), expressing the feelings of people who are old and unshakable.
The other passage is Yi Bingshou's son Yi Nian Zeng Zhi Ming, which records that Daoguang Gengzhi Nian (1850) Xiang Chao (no examination) Sun Jinpan (referring to the fact that tong sheng was admitted to the Fuzhou County School after passing the examination, because there was pan water in front of the school palace, so it was called into pan), Yi Nian once gave it away like pan water, and asked Han Yi to engrave the matter. "Shangmi" is the third day of the third month of the lunar calendar, and "Sui fu guan she" is the name of The room of Yinian Zeng.
On display, Mr. Xie Zhiliu donated the Song Dynasty Wang Yi ink copy "Yanjiang Stacked Mountains". This painting was originally identified by Xie Zhiliu as the authentic work of Wang Xue, but there were many fake opinions at the meeting of experts on the identification of cultural relics, and then Mr. Xie Zhiliu purchased it himself.
Xie Zhiliu
Mr. Xie Zhiliu was the deputy director of the Shanghai Cultural Management Association, an advisor to the Shanghai Museum, and the leader of the National Ancient Calligraphy and Painting Appraisal Team of the State Administration of Cultural Heritage. Most of the calligraphy and painting treasures collected by the Shanghai Museum have been collected by it, and valuable handwritten appraisal opinions have been left behind. In 1951 and 1996, Mr. Xie Zhiliu donated cultural relics to the Shanghai Municipal Commission of Cultural Relics and the Shanghai Museum, including the ink-and-ink volume "Yanjiang Stacked Mountains".
Xie Zhiliu donated Wang Yi's ink book "Smoke River Stacked Mountains"
Tang Yonghui's sixth-year statue of Li Shiyan's mother Feng Shi and other statues donated by Zhang Heng in 1950. Zhang Heng is an expert in the appraisal of ancient calligraphy and painting, recognized as a titan in the field of Chinese calligraphy and painting appraisal, and his grandfather Zhang Pingfeng and uncle Zhang Naixiong are famous bibliophiles. Born in one of the four rich families in Nanxun, Zhang Heng has adhered to the favor of his uncle since childhood, loved calligraphy and painting collection, and was proficient in edition bibliography and Jinshi calligraphy and painting appreciation.
Zhang Heng
He is considered to be the founder of modern Chinese calligraphy and painting appraisal, he summarized the appraisal of calligraphy and painting on the basis of his predecessors, and used years of practical experience to raise the appraisal of calligraphy and painting as a discipline to the theoretical level. In order to cultivate calligraphy and painting appraisal talents, he will teach courses at the Central Academy of Fine Arts with his years of experience, and his lecture notes have been recorded by Mr. Liu Jiu'an and Xue Yongnian, and edited by Qi Gong and Wang Shixiang, and published "How to Identify Calligraphy and Painting", which has become the ancestor document of modern calligraphy and painting appraisal.
After years of purchasing activities, Mr. Zhang Heng has established a complete collection system, and the collection of calligraphy and paintings ranks first in the collection from the five dynasties of the Jin and Tang dynasties, down to the Song, Yuan, Ming and Qing dynasties, especially the collection of ancient calligraphy and paintings. In 1947, his friend Zheng Zhenduo compiled for him a collection of famous paintings since the Tang and Song dynasties, and Mr. Qi Gong once praised "none of the calligraphy and paintings collected by Yun Huizhai are fake", which is enough to prove the level of Mr. Zhang Liangyu's collection.
Zhang Heng donated cultural relics to the Shanghai Museum twice in 1950 and 1952, including precious Han and Tang Dynasty stone carvings and Han Dynasty wooden janes.
Tang Yonghui six years Li Shiyan's mother Feng Shi and other statues, Zhang Heng donated in 1950
Tang Yonghui six years Li Shiyan's mother Feng Shi and other statues, Zhang Heng donated in 1950 (partial)
The exhibition exhibits a bronze jubilee donated by Mr. Ma Chengyuan, director of the Shanghai Museum. Director Ma once made a rule that no cultural and cultural workers were allowed to collect, and he took the lead in donating eight cultural relics from his collection to the Shanghai Museum in 1955 and 1960. Shen Zhiyu, director of shangbo and deputy director Yang Kuan, also donated their collections to the Shanghai Museum.
Ma Chengyuan donated bronze knights
Mr. Xia Yan's donation to the Shanghai Museum, the volume of Naran Chengde's Codex, also appeared in this exhibition. Xia Yan is a famous literary, film, drama writer and social activist in modern and contemporary China, and one of the pioneers, organizers and leaders of the left-wing film movement in China. After 1949, he served as the director of the Shanghai Municipal Bureau of Culture and the vice minister of culture.
Late Xia Yan
Xia Yan donated a volume of Naran Chengde's Codex to the Shanghai Museum in 1989
Naran Chengde, also known as Naran Sexde and Nalan Rongruo, was a famous poet of the Qing Dynasty and is also considered to be the prototype of Jia Baoyu in "Dream of the Red Chamber". In 1961, Mr. Xia Yan spent a large amount of money in Beijing Liuli Factory to buy this codex, and he loved it, which also caused a small sensation in the cultural circle. At that time, Mr. Xia Yan entrusted the Shanghai Museum to copy the Colossus as a gift for the delegation of the Ministry of Culture at that time. The volume was later lost and eventually recovered. Mr. Xia Yan's collection seal on the codex is "Renhe Shen's Zengzang", "Renhe" is his birthplace of Hangzhou Renhe, "Shen" is his real surname, "Zengzang" instead of the usual "treasure", indicating Mr. Xia Yan's attitude of not possessing cultural relics.
Xia Yan first donated the volume of Naran Chengde's Codex to the Shanghai Museum in 1989, and later donated 146 stamps from his collection to Xiangbo.
In 1963, Ba Jin donated his collection of Dong Qichang's "Xingshu Poems" to Shangbo. As a major figure in the Chinese literary circle at that time, Mr. Ba Jin donated his collection to the Shanghai Museum, and his cultural accomplishment can be read from his collection.
Ba Jin donated Dong Qichang's "Xingshu Poems" in 1963
Mr. Tang Yun is not only a famous calligrapher and painter, but also a purple sand collector. Tang Yun has a special love for mansheng pots, he identified and counterfeited the mansheng pots in his collection, and selected eight mansheng pots to hide in the eight pots of the pot, which is also the source of his later years with the name of "eight pots of pots".
Mr. Tang Yun in Dashizhai ( Oishizai )
This exhibition exhibits the mansheng Ming Ti liang purple sand pot donated by Tang Yun to Shangbo, which is the standard for the study of purple sand teapots.
Tang Yun donated the Mansheng Ming Ti Liang purple sand pot
Tang Yun donated Chen Hongshouming Yang Pengnian purple sand pot
(This article comprehensively refers to the exhibition supporting catalogue "Gaoshan Mountain Tour - Cultural Relics Donated by Shanghai Museum")
Editor-in-Charge: Ruoxi Chen
Proofreader: Shi Gong