Zonghe
Since its opening in June, the Shanghai Museum's annual exhibition "Ten Thousand Years of Changchun: Special Exhibition on the Art of Calligraphy and Painting in Shanghai Dynasties" has attracted much attention from the public with its academic planning and in-depth exploration of Shanghai's millennium calligraphy and paintings. In August, Shangbo changed some of the exhibits, and the exhibition period was previously extended from the original plan of September to October 9. The Paper learned from Shangbo that due to its great popularity with the audience and in order to cooperate with the "International Academic Symposium on Calligraphy and Painting on the Sea for a Thousand Years", the "Ten Thousand Years of Changchun - Special Exhibition of Calligraphy and Painting Art in Shanghai Dynasties" will be postponed to December 5, 2021.
In addition, during the 2021 National Day holiday (October 1 to October 7), the Shanghai Museum will be open as usual. Open daily from 9:00 to 17:00 (admission closes after 16:00).
The scene of "Ten Thousand Years of Changchun: Special Exhibition of Calligraphy and Painting Art in Shanghai Dynasties"
The shanghai museum special exhibition "Ten Thousand Years of Changchun: Special Exhibition of Calligraphy and Painting Art in Shanghai Dynasties" 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. It has been in the spotlight since its opening in June.
Among the exhibits replaced in August, there are 12 works/groups of works, such as Zhao Mengfu's "Xingshu Near-Post Page", Ming Dynasty Zhu Yunming's "Cursive Writing Fu Scroll", Mo Shilong's "Xingshu Fengshan Personnel Scroll", Song Ke's "Cursive Tang Ren Song Scroll", Zhu Yunming's "Cursive Wenfu Scroll", Qing Dynasty Dong Bangda's "Imitation of Yunxi Old Man's Pen Intention Axis", Wang Jian's "Imitation Song and Yuan Landscape Atlas" and so on.
According to reports, "a history of literati painting can be said to be half related to Shanghai", the special exhibition of the Shanghai Museum combs through the achievements of Shanghai's calligraphy and painting in the past 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 world in the late Yuan and early Ming dynasties, and to put forward the concept of Shanghai Wumenmenyuan/Pioneer for the first time by combing through and adding to 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. According to Shangbo Linglizhong, "Through the discovery and examination of new materials, it is confirmed that the author of the volume "Qidian Guanfeng Map" is the Shanghai Jiading painter Ma Yu, and on its influence on Shen Zhou, one of the Wumen painters, it can be completely classified as one of the 'pioneers' of the Wumen School (Wen Boren has long listed Ma as the pioneer of the Wumen School). ”
Jin Dynasty Lu Ji "Ping Fu Ti" expanded the book
Ming Dynasty Hai Rui calligraphy, Hai Rui once participated in the control of water in Shanghai and other places
Yuan Li Sheng's "Dianhu Farewell Scroll" Shanghai Museum Collection
Yuan Li Sheng", "Dianhu Farewell Scroll (Partial)", Shanghai Museum Collection
In the exhibition, 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 outline 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.
According to reports, after combing through this exhibition, for Shanghai after 1843, especially in terms of culture, it can be said that the logic is very smooth, "you can't just use the Haipai to represent Shanghai, Shanghai is not a 'small fishing village' in calligraphy and painting, but if you don't comb through this piece, it will indeed cause many people to open their mouths and shut up about the Haipai, but they don't really understand what the Haipai is." Therefore, it uses 'profound heritage, mellow artistic vein, eclecticism and courage to innovate' to express the artistic characteristics and spirit presented in the development process of thousands of years of calligraphy and painting on the sea. It can be said that from the Yuan Dynasty Li Sheng's "Dianhu Farewell Map" volume (exhibits) to Ming Wen Boren's "Nanxi Caotang Map" volume and Wen Jia's "Qushui Garden Map" volume (exhibits), it vividly outlines a road map for the migration of Shanghai's urban humanities since the Yuan and Ming Dynasties. If it is said that the Yuanwen people's 'throwing into the Idle River to avoid the crisis' is really helpless, then the subsequent relocation reflects the initiative, which is inseparable from the transformation and formation of the geographical and ecological environment of Shanghai from the beginning of the Ming Dynasty, especially the water system dominated by the Huangpu River, and sometimes even synchronized. ”
The Paper has learned that the "International Academic Symposium on Maritime Millennium Calligraphy and Painting" is initially scheduled to be held in Shanghai at the end of October, and this seminar will combine this exhibition to conduct an in-depth study of Shanghai Millennium Calligraphy and Painting.
Ming Ma Yu "Qidian Guan Feng Tu Scroll" part
Calligraphy works of Su Shi of the Song Dynasty on display
(This article is based on the above Blog and the surging news materials)
Editor-in-Charge: Li Mei
Proofreader: Ding Xiao