Ma Yu's "Qidian Guanfeng Atlas" in the collection of the Shangbo Museum was first faced by the public

For the first time, Ma Yu's "Qidian Guanfeng Picture Scroll" in the Shanghai Museum's collection was faced with full expectations from visitors, and this scene occurred at the Opening of yesterday's Shangbo "Ten Thousand Years of Changchun - Shanghai Special Exhibition of Calligraphy and Painting Art in Past Dynasties". "We have already verified that this Ming Dynasty court painter from Jiading, Shanghai, had contacts with Shen Zhouzusun III, the representative figure of the 'Wumen School', and advocated peace in poetry and painting. His brushstrokes are extremely rare. Ling Lizhong, director of the Calligraphy and Painting Research Department of the Shanghai Museum, said.

In order to celebrate the 100th anniversary of the founding of the Communist Party of China and show the history of maritime painting, the Shanghai Museum has specially planned to hold the "Ten Thousand Years of Changchun - Special Exhibition of Calligraphy and Painting Art in Shanghai Dynasties", which will last until September 21. This exhibition can be called a "calligraphy and painting archaeology" in Shanghai, from an academic perspective, the Shanghai dynasty calligraphy and paintings are systematically sorted out and studied, 146 related calligraphy and paintings (groups) are selected, and the artists and their works span more than a thousand years from the Three Kingdoms to modern and contemporary times.

"Since the Song and Yuan dynasties, cultural painting has gradually become the mainstream. A history of literati painting, half of which is related to Shanghai. In the exhibition, the audience will have the privilege of seeing the Western Jin Dynasty Lu Ji cursive "Pingfu Post Page", Ming Wenjia's "Qushuiyuan Picture Scroll", Yuan Lisheng's "Dianhu Farewell Picture Scroll", Liu Haisu and other "Ten Thousand Years of Changchun Chart Axis", Lu Yushao's "Yongli Chaotou Chart Axis" and other treasures, which are from the collections of Shanghai Museum, Shanghai Library, Shanghai Municipal History Museum (Shanghai Revolutionary History Museum), Shanghai Chinese Painting Institute, etc. At the "Danqing Bao Raft" exhibition, only the last two meters of Ming Dong Qichang's book "Tianma Fu Scroll" will also be exhibited for the first 16 meters, which will feast the eyes of visitors.

The exhibition is divided into four parts at the Shangbo Chinese Dynasty Painting Museum and the Chinese Dynasty Calligraphy Museum. The first part, "Art Pulse/Artistic Achievements", explains the important influence of the art pulse and achievements of calligraphy and painting on the history of literati painting in the past thousand years on the sea by combing through the "Ping Fu Ti", pulling out the "Ink Drama Theory" literati painting theory, the achievements of Shanghai literati painting in the Yuan Dynasty, the Yunjian Book School and shanghai "Wumenmen Yuan" in the early Ming Dynasty, 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. The exhibition systematically reviews and summarizes the achievements of Calligraphy and Painting in Shanghai's past dynasties, and examines its status and influence in art history, so as to fill the gap in the research of calligraphy and painting art history in Shanghai's traditional culture.

Another highlight of the exhibition is the first time to sort out the relationship between the water system and Shanghai's humanities. The entire Yuan Dynasty entered the heyday of truly establishing the brilliant value of literati painting itself. Located in the Taihu Lake Basin, Shanghai became the center of literati painting creation at the end of the Yuan Dynasty, and the achievements laid the pattern and context of local calligraphy and painting, and played a pivotal role in the sustainable development and continuous rise of the status of painting history. The large-scale humanistic migration of the "Tianxia Corporals" that occurred during this period is a reproduction of the grand situation after the Three Kingdoms of Eastern Wu. The second part of the exhibition, "Humanities/Regional Interaction", from the Yuan Dynasty's "Farewell Map of Dianhu Lake" to the Ming Dynasty's "Qushui Garden Map", vividly outlines a road map for the migration of Shanghai's urban humanities since the Yuan and Ming Dynasties, which is almost synchronized with the changes and formation of Shanghai's geographical environment after the beginning of the Ming Dynasty, especially the huangpu River. At the same time, Shanghai and Suzhou, as the two important towns of Jiangnan culture, with the continuous changes of their comprehensive factors such as water system ecology, geographical advantages and economic status, the two have also occurred in the field of calligraphy and painting, which are not only symbiotic, but also have the interaction between local regions.

Source: Wen Wei Po