Yang Yang China, the history is long,
And the museum
It is to collect various historical periods
A treasure trove of heritage treasures.
People's Daily Cultural and Creative Special Launched the "Collection of National Treasures" column,
Take you to admire the treasures of the major museums!
This issue explores
It's the Shanghai Museum!
Shanghai Museum
The treasure of the Shanghai Museum
Big Gram
Era: Western Zhou
Specifications: Height 93.1 cm, caliber 75.6 cm
Excavation time: Mid-Qing Guangxu period
Place of origin: Ren Village, Famen Town, Fufeng County, Shaanxi Province
Da Ke Ding, the Great Lu Ding of the National Museum of China and Mao Gongding of the National Palace Museum in Taipei, is known as the "Three Treasures of Bronze Ware in the Sea" in the late Qing Dynasty. As a heavy weapon in Dingzhong, although the archaeological achievements of more than 100 years are remarkable, The Great Keding is still the same as the Large Luding as the two largest pieces of the bronze round ding with inscriptions, which is the most honorable.
Da Ke Ding is a typical style of the Middle Western Zhou Dynasty, the Ding mouth has a large double vertical ear, the mouth edge is slightly retracted, the abdomen is slightly drummed and sagging, the abdominal wall is thick, the hoof foot, the shape is thick, and it fully shows the majestic and solemn ceremonial characteristics of the bronze Ding. The inscription on the inner wall of the abdomen is 290 words, and the inscription records that the maker of the vessel is "Ke", who is the official who manages the diet of the King of Zhou, and the duty granted by the King of Zhou to give Ke is to upload and issue orders. This inscription is an important material for the study of the social politics and economy of the Western Zhou Dynasty, and is also a great work of the emperor in the art of Western Zhou calligraphy.
Marquis of Jin
Specifications of the utensils: the large one is 52 cm high, the small one is 22 cm high, and both are Yong Bells
Excavation date: 1992
Place of origin: Tomb No. 8 of the Jinhou Cemetery in Beizhao Village, Quwo County, Shanxi Province
The Jinhou Zhen Bell is a burial chime of the Late Western Zhou Dynasty, a total of 16 pieces, which can be divided into two groups, each group of 8 pieces, the size of the order, arranged into two columns of scales and rhythms of the chimes. Among them, 14 pieces in the collection of the Shanghai Museum were purchased from Hong Kong and collected, and the other two were excavated through scientific excavations in Tomb No. 8 of the Jinhou Cemetery in Beizhao Village, Quwo County, Shanxi Province, and are now in the Shanxi Museum.
Although this set of chimes does not look outstanding, it is the treasure of the Shanghai Museum. On each of its bells, there are a large number of inscriptions, all of which are engraved with sharp instruments, which is the first time that bronzes in the Western Zhou Dynasty have been seen. The 355-word inscription records the events of Marquis Su of Jin accompanying Prince Li of Zhou on his conquest of Dongfang Suyi, which is recorded in the history books, is an important supplement to the historical materials of the Western Zhou Dynasty, and can also be used to calculate the Western Zhou calendar accordingly.
Tang Sun Wei Gao Yi Tu Scroll
Era: Tang
Dimensions: Length 45.2 cm, width 168.7 cm
The Gao Yi Scroll, which has been collected by the royal family and famous artists since the Northern Song Dynasty, is often found in the bibliography and is extremely precious. This picture is the only surviving work of Sun Wei, a famous court painter of the Tang Dynasty, and its existence is of unique significance to the study of Sun Wei's personal artistic style and the evolution of the figure painting styles of the Tang and Song dynasties.
The Gao Yi Scroll is a fragment of the Seven Sages of the Bamboo Forest. The "Seven Sages of the Bamboo Forest" was seven famous scholars of the Wei and Jin dynasties, and only four of them remained in this volume, and after examination, from right to left, they were Shantao, Wang Rong, Liu Ling, and Ruan Yuan. The four of them all sit on the carpet of flowers, with different shapes and expressions, and four children stand next to them, with different utensils, so that the personality characteristics of the characters are portrayed beautifully. In addition to the portrayal of characters, Sun Wei also took great pains to use the pen for the settings such as banana stones and utensils, as a rendering and dyeing technique used to embellish mountain stones, opening up the precedent of five generations of painting methods.
Tang Huaisu Bitter Scroll
Utensils: length 25.1 cm, width 12 cm
"Bitter Flute Thesis" is the only famous work in the works of Huai Su, a famous cursive writer in the Middle and Tang Dynasties, that is recognized as a genuine work by everyone. Although this post is only 14 words, it has extremely high artistic value, and it also has immeasurable cultural value for the study of traditional Chinese culture such as Zen Buddhism and tea ceremony.
The "Bitter Flute Thesis" is a representative work of Huai Su, with two lines of cursive writing, and the interpretation is "The bitter basket and the tea are exceptionally good, but they can be brought." Wai Su on. "The whole post character is round and sharp, refined and ethereal, the spirit is flying, and the pen is happy, like a whirlwind of rain, although it changes and the law is possessed." Huai Su and Zhang Xu are revered as the two peaks in the history of Chinese cursive writing, collectively known as "Turbulent Crazy Su", Zhang Xu wins with thickness, Huai Su wins with thinness, and "Bitter Flute Thesis" well reflects the different aesthetic interests between the two.
Eastern Jin Dynasty Wang Xianzhi Xingshu Duck Head Pill Thesis Scroll
Era: Eastern Jin Dynasty
Utensils: length 26.1 cm, width 26.9 cm
"Duck Head Pill Thesis" is one of the few surviving works of Wang Xianzhi, and is a representative work of Wang Xianzhi's xingcao. Wang Xianzhi is the seventh son of Wang Xizhi, the "Sage of Calligraphy", who is good at writing and cursive writing, and is known as the "Little Sage" in the history of calligraphy.
The whole post of "Duck Head Pill Post" has a total of 15 words: "Duck Head Pill, so it is not good." Ming should be gathered, and when you meet with the King. Judging from the number of words and the content, this post is just a piece of paper for the author to write casually, but this "randomness" just makes Wang Xianzhi's "broken book" ascend to the realm. The overall style of "Duck Head Pill Theory" is handsome and refreshing, and it is super easy to travel. More than ten character strokes in the post are round and running, allegorical and soft, with ink dry and moist, and the ink color is clear. The upward spacing of the chapter is very wide, which appears sparse and loose. Wu Qizhen, a calligraphy and painting collector in the late Ming and early Qing dynasties, called this post "elegant and upright, amazingly beautiful, naturally interesting, and a supreme god."
Zizhong ginger plate
Era: Spring and Autumn
Utensils specifications: height 18 cm, caliber 45 cm
Zizhong Ginger Plate, an early Spring and Autumn bronze, was presented to the Shanghai Museum in 1997 by the Chairman of the Board of Directors of The Hong Kong Sun Group. The plate is a water container, and during the Shang and Zhou Dynasties, a ceremony of fertility is held during the feast to undertake the discarded water. Zizhong Ginger Plate is a gift from Master Jin Guo to his wife Zhongjiang, a well-cast copper plate from more than 2,000 years ago that embodies his deep love for his beloved wife.
Zizhong ginger plate is larger in shape, folded along the submersible abdomen, quite thick. The plate is decorated with various aquatic creatures of relief and standing sculpture, fish, turtles, frogs, and water birds, which are not only vividly shaped, but also each round sculpture animal can rotate 360 degrees in situ, and when the water is injected, the fish and birds swim in it, which is breathtaking. These small animals and the reliefs at the bottom of the plate are contrasted, forming a perfect combination of three-dimensional and flat, dynamic and static, and are an unprecedented and wonderful creation, reflecting the extremely high bronze casting process of this period.
Qingyongzheng Jingdezhen kiln pastel bat pattern olive bottle
Era: Qing
Utensils: height 39.5 cm, caliber 10.0 cm, foot diameter 12.3 cm, abdominal diameter 18.5 cm
Qing Yongzheng Jingdezhen kiln pastel bat pattern olive bottle, which set a world record for the auction of Qing Dynasty porcelain in 2002, was donated to the Shanghai Museum by Hong Kong collector Ms. Zhang Yongzhen. Pastel is one of the most famous varieties of Yongzheng color porcelain in the Qing Dynasty, pastel bat peach pattern porcelain is mostly a plate, which is extremely rare on the olive bottle, this bottle is an existing orphan product, so it can be called a unique treasure bottle.
QingyongZheng Jingdezhen kiln pastel bat pattern olive bottle shape is plump and beautiful, the lines are smooth and rhythmic, both light and flexible, but also without losing stability. The glaze color of the bottle is pure white and uniform, the glaze layer is thick and lustrous, decorated with pastel bat pattern, the picture is exquisitely conceived, the branches are fruitful, and the branches and leaves are decorated with bats, spreading their wings and flying, and a scene of harvest and celebration jumps into view. "Bat" is the harmonic sound of "Fu", while peach is the symbol of "Shou", which means "Fu Shou Shuang Quan". In "Tao Ya", "pastels are the most beautiful in the Yongzheng Dynasty, no ancients before, no one after them, bright and dazzling", pastel bat peach pattern olive bottles represent the highest level of pastel craftsmanship in the Yongzheng period.
Southern Song Dynasty Zhu Kerou Silk Lotus Pond Milk Duck Diagram
Era: Song
Utensils: length 107.5 cm, width 180.8 cm
Silk Lotus Pond Milk Duck Diagram, Zhu Kerou's legacy. Zhu Kerou is famous for silk reeling, his characters, trees, stones, flowers and birds and their exquisiteness, transport silk like a pen, the original "Zhu Zhi Method", the works are difficult to distinguish. This silk painting is a masterpiece of silk painting in ancient and modern times, with its huge format, rich colors, symmetrical silk wisps and superb techniques.
The silk lotus pond milk duck diagram is painted with a real scene of the lotus pond in spring and summer, and the whole width is woven with colored silk threads, with clear layers, flowers, insects and birds. In the picture, the two ducks float among the lotus stemping grasses, the egrets and kingfishers on the shore are in harmony with them, the dragonflies are flying, the grass worms are chirping, and the natural interest of the lotus pond is vividly expressed, which can be described as ingenious and exquisite. Weaving paintings can only be in accordance with the weaving order, the longitude and latitude are wrong, from top to bottom a thread of weft accumulation, can not be repeated, so the difficulty of completing the work is higher than the painting. It can be seen that Zhu Kerou has a pictorial intention and can do his best to complete such a masterpiece.
Merchant martingale fang liter
Era: Warring States
Dimensions: Length 18.7cm, inner mouth length 12.5cm, width 7cm, height 2.3cm, volume 202.15 cm3
The Martingale Fangsheng is one of the earliest surviving measuring instruments in the world that uses the scientific method of degree of tolerance. Fang sheng is a rectangular shank measuring instrument, the outer wall of this instrument is engraved with an inscription recording that the Daliang martingale promulgated a standard measuring instrument, "Daliang martingale" is the martingale, hence the name of this piece of the utensil.
The Martingale Fangsheng, which enjoys the reputation of "a strong country's heavy weapon", is shaped as a mediocre bucket-like object, extremely simple, neither has the complex ornamentation on ancient bronzes, and the production process is not complicated, but it has high historical value. The first paragraph of Fang Sheng has the word "Chongquan", indicating that this Fang Sheng was first issued in Chongquan County (present-day Pucheng, Shaanxi), and the bottom of the instrument is engraved with the edict of Qin Shi Huang's twenty-six years of unifying the national metrics. Shangmartin Fangsheng is the standard measuring instrument supervised by Shangmartin when it unified weights and measures for the Qin Transformation Law, and its emergence is of epoch-making significance, which not only promotes the development of the national economy, but also facilitates the economic exchanges of the whole country, and is a key link in national reunification.
Yue kiln blue glazed begonia type bowl
Specifications: Height 10.8cm, mouth length 23.3cm, mouth width 32.2cm, foot diameter 11.4cm
The Yue kiln blue glazed begonia bowl treasured by the Shanghai Museum is a representative work of Tang Yue kiln porcelain. This bowl vessel is large and regular, which is rare in the ChuanshiYue kiln bowl category, reflecting the high level of the Tang Dynasty Yue kiln porcelain craftsmanship.
The mouth of this artifact is shaped like a four-sided petal, looking down on a blooming begonia flower. The glaze of the whole vessel is uniform, the glaze color is blue and yellow, and the luster is like jade, just like the Tang Dynasty poet Tortoise Meng wrote in the "Secret Color Yue Instrument Poem", "The nine autumn wind dews more and more kilns open, and win the green color of the thousand peaks". Begonia bowl is the Tang Dynasty emerging and extremely popular modeling style, at that time in the gold and silverware also appeared in many, from the Zhejiang Cixi Shanglin Lake Tang Dynasty Yue kiln site, begonia bowl at that time had a certain amount of firing, but whether unearthed or handed down complete physical objects, such a large bowl is very rare.
Producer: People's Daily Cultural Creation
Picture from Shanghai Museum, photo network