Gu Cunyan Chen Ruoxi
Shanghai Museum's most important special exhibition of calligraphy and painting this year, "Ten Thousand Years of Changchun: Special Exhibition of Calligraphy and Painting Art in Shanghai Dynasties", was officially exhibited to the public on June 22, and the exhibition held an opening ceremony yesterday, which was widely concerned by the cultural circles with the academicity, depth and breadth of curation, as well as the re-examination and positioning of the origin of Shanghai's thousand-year-old calligraphy and painting.
Before the opening of the exhibition, The Paper had a dialogue with Ling Lizhong, curator of the exhibition and director of the Calligraphy and Painting Research Department of the Shanghai Museum. He said that in the preface to the exhibition, he proposed that "a history of literati painting can be said to be half related to Shanghai" - such a statement is still relatively conservative now, "This exhibition can actually be said to be both a 'calligraphy and painting archaeology', not only 'archaeology' out of a living cultural elite, literati painting history cases, but also the restoration of Shanghai's water system and human geography, outlining a road map for the migration of Shanghai's urban humanities since the Yuan and Ming Dynasties." Looking back at the history of Shanghai's calligraphy and painting, of course, it is not a simple 'small fishing village', and the reason why Shanghai has achieved such an international status as today is inseparable from the profound cultural tradition. And calligraphy and painting, it should be said that the weight of the account is not light. One of the highlights of this exhibition is also to rediscover the achievements of the Shanghai painting scene at the end of the Yuan and the beginning of the Ming Dynasty, and to put forward the concept of Shanghai Wumenmenyuan /Pioneer for the first time by combing through and adding to those figures who have been neglected or even almost submerged by the history of painting. ”
"Ten Thousand Years of Changchun: Shanghai Dynasty Calligraphy and Painting Art Special Exhibition" is the first time to systematically sort out and study the calligraphy and paintings of Shanghai dynasty from an academic perspective, selecting 146 related calligraphy and paintings (groups), spanning more than 1,000 years from the Three Kingdoms to modern and contemporary times, and presenting them through four parts: "Artistic Pulse/Artistic Achievement", "Humanistic/Regional Interaction", "Collection/Artistic Influence" and "Tidehead/Maritime Style". On the one hand, it aims to comprehensively and systematically review and summarize the achievements of Shanghai's calligraphy and painting in the past, and examine its status and influence in art history, on the other hand, to explore the artistic characteristics and spirit of profound heritage, artistic integrity, eclecticism and courage to innovate presented in the development of calligraphy and painting on the sea for thousands of years, which is more conducive to understanding the urban spiritual context of Shanghai, an international metropolis, and its traditional humanistic background. The works on display include the Three Kingdoms Emperor Elephant "Zhang Cao Qiu Zhi Zhang", the Western Jin Dynasty Lu Ji's "Cursive Writing Pingfu Post Page", the Song Dynasty Mi Fu Calligraphy "Xingshu Dao Zu Ti" (the first exhibition), Yuan Renrenfa's "Qiushui Qiao Tu Scroll", Gu Yuan's "Danshan Jixing Scroll", the Ming Dynasty Dong Qichang's "Xingshu Tianma Fu Scroll", and the works of Zhang Daqian, Wu Hufan, Lu Yushao, Liu Haisu and others in modern times. Interestingly, in the section that witnessed the Shanghai calligraphy and painting collection in the past seven hundred years, the calligraphy masterpieces of Su Dongpo and Zhao Mengfu have become supporting roles.
Outside the exhibition hall of "Ten Thousand Years of Changchun: Special Exhibition of Calligraphy and Painting Art in Shanghai Dynasties"
Ling Lizhong (Director of the Calligraphy and Painting Department of shanghai museum) introduces the "archaeology of calligraphy and painting" in Shanghai in the office
"A history of literati painting can be said to be half related to Shanghai"
The Paper: "Ten Thousand Years of Changchun - Shanghai Past Dynasties Calligraphy and Painting Art Special Exhibition" focuses on such a grand topic as Shanghai's thousand-year-old calligraphy and painting, and has been preparing for more than a year, in fact, when it comes to the origin of calligraphy and painting in Shanghai, of course, it is not just as simple as saying the prosperity of the modern maritime painting school, because the earliest surviving celebrity inkblots that have a great influence on the history of Chinese painting and calligraphy - Lu Ji's "Ping Fu Ti" and Dong Qichang are all in Shanghai. Nevertheless, judging from the viewing experience after the opening today, its academic nature, depth and breadth of involvement are beyond my expectations, and the exhibition is not limited to Shanghai for a while, but revolves around the economic and cultural boom of the entire Jiangnan And the changes in the geographical environment and water system, especially from the water system such as the Wusong River and the Huangpu River, and some works such as the Ming Dynasty Jiading painter Ma Yue's re-examination of Shen Zhou of the Wumen School is also very innovative, I would like to ask you to introduce how the curatorial ideas of this exhibition have gradually taken shape?
Ling Lizhong: The Shanghai Museum has successfully held the "Wuhufan Calligraphy and Painting Collection Special Exhibition" (2015) and "Danqing Bao Raft: Dong Qichang Calligraphy and Painting Art Exhibition" (2018), on the basis of the first two exhibitions, curating this exhibition to constitute the "Maritime Trilogy" of the special research series of calligraphy and painting. For the planning of this exhibition, it has a preparatory period, which is divided into two concepts, one is the project start-up, and the other is the preliminary preparation. The project of this exhibition started later than the special exhibition of Wu Hufan and Dong Qichang, only one year. In terms of preliminary preparations, the academic community has not yet sorted out such topics as thousand-year-old calligraphy and painting on the sea. So it's actually a comprehensive academic test for us.
For me, the planning of such a calligraphy and painting exhibition is mainly based on two considerations: first, this year coincides with the major node of the 100th anniversary of the founding of the Communist Party of China, and it is a driving force to take Shanghai's calligraphy and painting achievements as a gift exhibition; second, this topic is actually quite necessary, on the one hand, it is academic needs, and on the other hand, it is also a preliminary academic preparation and preparation for the establishment of the Maritime Calligraphy and Painting Museum in the East Hall of the Shanghai Museum next year.
Lu Ji of the Jin Dynasty, who lived in the Songjiang area of Shanghai for a long time, his "Ping Fu Ti" is the earliest surviving celebrity legal book in ancient China.
Jin Dynasty Lu Ji "Ping Fu Ti" Collection of the Palace Museum (Note: Not exhibited in this exhibition)
Emperor of the Three Kingdoms "Chapters of the Three Kingdoms" (Matsue Ben)
The Paper: But this topic is too big, the sea millennium calligraphy and painting, on the one hand, was basically not clearly put forward before, on the other hand, it is indeed a huge test, you just said that the preparatory period is one year, but from the perspective of the exhibition experience, all the preparations are of course not one year or two years, how do you grasp the main line of this exhibition in curating?
Ling Lizhong: To plan such an exhibition, first of all, we must have a grasp of the overall situation in the history of Chinese art, and we must not be biased. Usually we plan the exhibition to the Ming and Qing dynasties mostly, but this time is also poking at my personal interest point, in fact, in the history of Chinese art I am personally most interested in the Yuan Dynasty, so for the early information of the Yuan Dynasty I have been combing, the Ming Dynasty exhibition has long done a lot, so I am my entire academic experience integrated in this exhibition. For example, in 2018, in fact, it was not to do the "Danqing Bao raft - Dong Qichang Calligraphy and Painting Art Exhibition", but to plan the "Wumenmenyuan Calligraphy and Painting Special Exhibition", and then because the Palace Museum was preparing the "Yuan Dynasty Calligraphy and Painting Exhibition" and the "Zhao Mengfu Exhibition", there was a conflict between the relevant Song and Yuan calligraphy and paintings that our two units needed to negotiate, so it was changed to Dong Qichang Exhibition, and the "Wumenmen Yuan Exhibition" that had been preparing for several years was to sort out the century-old painting history between the end of the Yuan Dynasty and the founder of the Wumen School, Shen Zhou, and the research on this period of painting history was relatively weak. Scholarship is a bucket of water, the exhibition is one of the cups of water, this exhibition catalogue I submitted two papers: "A Preliminary Study on the Relationship between Calligraphy and Painting on the Sea and the History of Literati Painting", "Qidian Guanfeng Map" Volume Author Examination - and Taking Ma's Father and Son as an Example to Analyze the Interaction and Influence between Shanghai and Wumen Painters in the Early Ming Dynasty, totaling about 50,000 words. The article "A Preliminary Study on the Relationship between Calligraphy and Painting on the Sea for a Thousand Years and the History of Literati Painting" appended the "List of Calligraphy and Painting Works Related to Shanghai Since the Song and Yuan Dynasties" and "The Catalogue of the Collection of Famous Paintings in Shanghai Since the Song and Yuan Dynasties", which I have sorted out over the years, the scope of which is not limited to the collection of the Shanghai Museum, but the collection of Shanghai-related calligraphy and painting works collected by museums around the world, basically I have done a more systematic combing. Based on these preliminary research and academic preparations, this exhibition breaks the traditional framework of simply listing the clues of time. Because I want to answer some academic questions on this topic, the status of Shanghai calligraphy and painting in the history of art, so I have this expression in the text, "A history of literati painting can be said to be half related to Shanghai."
Ming Dong Qichang Xingshu Tianma Fu Scroll Partial Collection of Shanghai Museum
The surging news: "A history of literati painting, half of which is related to Shanghai", this sentence should be said to be very topical, from the presentation of the exhibition, the word "related" is used, but not "in Shanghai", what did you think of such a wording at that time?
Ling Lizhong: "A history of literati painting, half of which is related to Shanghai" I think this expression is relatively conservative, because I combed through the history of literati painting from the perspective of several academic points, especially the achievements of the Shanghai painting circle at the end of the Yuan and the beginning of the Ming Dynasty, in the past when it came to the achievements of calligraphy and painting in Shanghai at the end of the Yuan and the beginning of the Ming Dynasty, there may be insufficient information, or no one has done systematic combing, it is recognized that the influence of Shanghai calligraphy in the early Ming Dynasty on the whole country, this exhibition I first proposed the concept of Shanghai Wumenmen yuan / pioneer, That is, the influence of Shanghai on the painting world in the early Ming Dynasty, especially on the Wumen School.
In the treatises on the history of Painting in the Ming and Qing Dynasties and in the study of modern painting history, the "Wumen Pioneer" is generally defined as the founder of the "Wumen School" who was older in the generations, the artists of the early Ming Dynasty from Shen Zhou to the second generation, represented by Du Qiong, Liu Jue, Shen Zhen, etc.; if you go back to the end of the Yuan Dynasty, that is, inherit the positive pulse of the Four Families of the Yuan and influence the Wumen Pioneers, I think it can be called "Wumen Yuan", represented by Tao Zongyi of Songjiang. Therefore, whether it is a "pioneer" or a "former yuan", its people are not limited to "Wumen".
On the occasion of this curatorial exhibition, I combed and added the influence on the Ming Four Schools dominated by Shen Zhou, especially those "Qianyuan" and "pioneer" figures in Shanghai who were neglected or even almost submerged by the history of painting, such as Zhang Zhong, Wen Riguan, Tao Zongyi, Wumen pioneers Jin Xuan and Ma Yu. This scholarly view and their related works are presented in this exhibition. Related works are exhibited, such as Ming Dong Qichang's "Title Du Qiong Nan Village Villa Atlas", Yuan Zhangzhong's "Furong Mandarin Duck Chart Axis", "Wu Song Chun Shui Chart Axis", Ma Wan's "Twilight Cloud Poetry Intention Axis", Ming Ma Yu's "Qidian Guanfeng Picture Scroll", Ming Jinxuan's "Fishing Boat Singing Evening Picture Page", etc.
In this way, through the combing of the achievements of calligraphy and painting in Shanghai at the end of the Yuan Dynasty and the beginning of the Ming Dynasty, then the "Wumen Painting School" in the middle of the Ming Dynasty, and then dong Qichang in the late Ming Dynasty took over the banner of the "Wumen Painting School" and led the nearly four hundred years of painting history behind him. The economic center of the Qing Dynasty was transferred to Yangzhou, the "Yangzhou School" appeared in the middle of the Qing Dynasty, and by the late Qing Dynasty, as Shanghai became the commercial and cultural center of Jiangnan and even the whole country, Shanghai became the main position of the Maritime Painting School, which was inevitable.
Whether it is the traditional Shanghai school or the fourth part of the Western painting movement, printmaking movement, The intersection of Chinese and Western, art education, Shanghai is mostly leading, so after combing through the history of Shanghai's art in the past seven or eight hundred years, on the one hand, it aims to comprehensively and systematically review and summarize the achievements of Shanghai's calligraphy and painting in the past, examine its status and influence in art history, on the other hand, explore the artistic characteristics and spirit of "profound heritage, mellow artistic pulse, inclusiveness and courage to innovate" presented in the development of calligraphy and painting in the millennium on the sea.
The 16 words I have initially sorted out at present are helpful for understanding the urban spiritual context of Shanghai, an international metropolis, and its traditional humanistic background. So Jiangnan culture, Shanghai culture, red culture, it has a historical context, it can give birth to red culture here.
Therefore, I think that this is not only a "calligraphy and painting archaeology", not only "archaeology" out of a vivid cultural elite, literati painting history cases, but also a restoration of the hydrological and geographical environment of Shanghai at that time. For example, as I have repeatedly mentioned, from Li Sheng's "Farewell Map of Dianhu Lake" (exhibits) in the Yuan Dynasty to Ming Wen Boren's "Nanxi Caotang Picture Scroll" and Wen Jia's "Qushui Garden Map" volume (exhibits), it outlines a road map for the migration of Shanghai's urban humanities since the Yuan and Ming Dynasties. From Dianshan Lake to Lujiazui is a route of Shanghai's reform and opening up, and the reason why Shanghai can achieve such an international status as today is that I think it is inseparable from the deep cultural tradition. And calligraphy and painting, it should be said that the weight of the inside is not light.
From the new discovery and humanistic accumulation, the concept of "Shanghai Wumen Pioneer" is proposed
The Paper: Because calligraphy and painting itself is an accumulation and testimony of humanities. I would like to ask you to talk about what was the biggest difficulty that you felt needed to break through when you were planning this exhibition?
Ling Lizhong: The biggest difficulty is also to sort out the achievements of Shanghai calligraphy and painting in the Yuan and Ming dynasties, why I want to mention the Yuan Dynasty, in fact, from a personal academic point of view, I also encountered my favorite point. Therefore, I should be relatively complete in terms of combing the data, so when I received this curatorial topic, I was not in a hurry to find information, because I had combed through these materials. So what's the hard part for me? It's because I didn't come to that conclusion at the beginning. I also did not comb from the perspective of literati painting, I put the existing, vast material through reading, combing, to come up with some of the current academic views presented in the exhibition, and these views also need to be tested by the academic community, such as the concept of "Shanghai Wumen Pioneer" that I mentioned this time, before there was only "Wumen Pioneer", I neglected and added those Shanghai "Qianyuan" and "Pioneer" figures who were ignored or even almost submerged for the history of painting, plus the collection of the Shanghai Museum. It should be said that the main point of view that I want to express and present is basically satisfied.
Surging News: What this exhibition left me with a deeper feeling is that through the combing of Shanghai's urban economy, politics and hydrological geography, from the Wusong River in Shanghai to the formation of the Huangpu River as the main water system, behind it is the trend of literati painters gradually taking Shanghai as the center of jiangnan art activities after the Yuan and Ming Dynasties, in fact, just like the obvious influence of the Jiading painter Ma Yue on Shen Zhou presented in the exhibition, it was ignored in the past, and after the "Wumen School", the focus of calligraphy and painting has shifted to the songjiang as the center. The emergence of Dong Qichang directly affected the "Four Monks" and "Four Kings" of the Qing Dynasty, which can be said to be a shrouded influence, so this is particularly interesting to examine the painting history of Shanghai Yuanming from a perspective.
Ling Lizhong: Yes, this is the focus of the second part of my exhibition, "Humanities/Regional Interactions". The entire Yuan Dynasty, with its special current political situation and humanities and ecological factors, entered the heyday of truly establishing the brilliant value of literati painting itself. Located in the Taihu Lake Basin and an important town with convenient land and water transportation, Shanghai has thus become the center of literati painting.
Wen Zhengming said, "When Songjiang was in the Yuan Dynasty, Hongru Shuoyan avoided it." In the southeast of the Yuan Dynasty, the war in the southeast was chaotic, and all sides showed a trend of division, and unlike cities such as Suzhou, which were the places where soldiers had to fight for a battle, administrative centers such as Suzhou, the areas east of the Taihu Lake Basin such as Songjiang, Qingpu, Jiading, Jinshan, Jiaxing, etc., were slightly free of military fire for a while, coupled with the fact that "the gentlemen of the Yuan Dynasty were not happy, and the law was wide, and the fields were given thirty taxes and one tax, so the wild people were able to be strong. And Le Qizhi", for a time became a peach blossom source where the literati were partially sheltered. This was followed by a massive migration of men and women.
The scholars who gather in Shanghai are composed of five main types of "avoiding land", "indigenous people", eunuch residences, abbot temple Taoist temples and traveling residences, which are also the main scope of calligraphers and painters of all generations shown in this exhibition, among which "avoiding land" such as Tao Zongyi, Yang Weizhen, Ma Wan, Qian Weishan and Shao Hengzhen in this exhibition; "indigenous people" such as Lu Juren and Zhang Zhongzhong; eunuchs such as Wu Fusun and Gu Yuan, and shen liao, Mi Fu and Hai Rui of the Ming Dynasty in addition to the Yuan. Abbots or hermits at Xiao Temple, such as Zou Fulei of the Yuan Dynasty, Zou Fuyuan Brothers, Gong Shitai, Yao Wei and so on.
It can be said that the Gathering of "Tianxia Corporals" in the Yuan Dynasty, mainly in Songjiang, Shanghai, is a reproduction of the grand situation after the Three Kingdoms of Eastern Wu. At the same time, it is also the first time in the three important stages of the formation of the maritime painting school in the more than 700 years from the end of the Yuan To the end of the Qing Dynasty, the first time is the late Ming and early Qing dynasties. The achievements of Shanghai literati painting in the Yuan Dynasty laid the pattern and context of local traditional culture after that. The above five types of literati related to Shanghai have laid a solid foundation for personal connections and artistic connections.
Part of the annotation of the past generations of painters in the Shanghai area in the exhibition hall of the Shangbo Museum
The Paper: In this way, I think that when Shanghai culture arose, its early background seemed to be related to the social turmoil at that time, such as the turmoil at the end of the Three Kingdoms, the end of the Yuan Dynasty, the end of the Qing Dynasty and the beginning of the People's Republic, Shanghai became the yearning and avoidance of many literati, and the Shanghai area also appeared or left a lot of calligraphy and painting.
Ling Lizhong: Yes, in addition, Shanghai can also produce calligraphy and paintings, not only the migration of foreign scholars, such as Zhang Zhong, Wen Riguan, Zou Fulei, Dong Qichang and so on. In terms of calligraphy and painting creation, only the Shanghai painting circle of the Yuan Dynasty, for a time the stars were brilliant, such as the ink grape painting of Songjiang Wen Riguan, the calamus painting of Bai Ziting, the ink flower ink bird painting of Zhang Zhong, the landscape paintings of Ma Wan, Shen Wei, Wang Lizhong, Zhang Guan, Zhang Yuan, etc., the plum blossom painting of Zou Fulei in Pudong, the renma painting of Qingpu Renrenfa and Ren Xianzuo's father and son, the landscape paintings of Cao Zhibai and Li Sheng; the calligraphy includes Songjiang Lu Juren, Qian Weishan, Yang Weizhen, etc., Chongming Qinyue, etc.; Calligraphy and painting theory works: Zhuang Su of the late Song Dynasty and the beginning of the Yuan Dynasty", "Painting Succession Supplement", Yuan Xia Wenyan Picture Treasure Book", Tao Zongyi's "Painting History Will Be Essential", Cao Zhao's "Treatise on GeGu Essentials", Ming Dynasty He Liangjun's "Four Friends Zhai Painting Theory", Mo Shilong's "Painting Theory", Chen Jiru's "Nigu Gong" and Dong Qichang's "Essay on Painting Zen Room", Qing Zhangzhao's "Tianquan Zhai Calligraphy and Painting Inscription" and his "Shiqu Baoji" co-edited and presided over by him, Zheng Wuchang's "Complete History of Chinese Painting" in modern times, etc.; In terms of art education, Liu Haisu and others founded the Shanghai Art College, which opened the first page in the history of modern Art Education in China, and so on.
The Paper: What is interesting is that from the current concept of administrative divisions to this part of Shanghai, every time at the end of a dynasty, there will be representative figures in Chinese cultural history, such as the Erlu of the Western Jin Dynasty, especially Lu Ji, "Ping Fu Ti" is of course the earliest well-known literati inkblot, and Lu Ji's "Huating Crane" before his execution actually reflects the reflection and return of Chinese literati on their own minds, which can also be said to be the precursor of literati painting. The real literati freehand painting is to reflect a kind of great freedom in people's hearts, opposing material service and restraint, Dong Qichang's "Southern and Northern Sect Theory" is also a kind of thinking about this, and even in modern times, due to the special humanities and environment, it has become a place for Chinese literati to yearn for, including a series of major events that will give birth to a series of major events that affect Chinese history.
Ling Lizhong: Yes, after combing through this exhibition, the logic of Shanghai after 1843, especially the cultural aspect, can be very smooth. Shanghai is not a "small fishing village" in calligraphy and painting, but if you do not comb through this piece, it will indeed cause many people to open their mouths and shut up about the Maritime School, but they do not really understand what is the "Hai School". Therefore, I use "profound heritage, mellow artistic veins, inclusiveness 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.
The Paper: The exhibition compares the changes in the water system in Shanghai from the Wusong River to the Huangpu River and forms the migration road map of Shanghai's urban humanities since the Yuan and Ming Dynasties, and combines the changes in geography with the flourishing of culture and art, which is ignored in many large exhibitions, but this exhibition does not hesitate to write and ink on this, and indeed plays a huge role in explaining the theme, and it is interesting that for local life customs and food, it is also presented in the form of calligraphy and painting, so everything is very vivid and concrete.
Ling Lizhong: This is actually not deliberate, because I usually do not study this aspect, but there are many research results in the geographical ecology of Shanghai archaeology and historiography, and I just found that the gathering place of calligraphy and painting formed in Shanghai after Yongle in the Ming Dynasty echoes this, and also found that the water conservancy experts among the calligraphers and painters, such as Ren Renfa of the Yuan Dynasty, presided over the construction of the Wusong River Water Conservancy Project, the Ming Dynasty Xiayuan Ji dredged the Wusong River, the Hairui Dredging Huangpu River, etc., many as long as they are officials in Shanghai, basically related to water conservancy. So in the exhibition I take Natsuhara Yoshi and Hai Rui as representatives. The exhibition also exhibited Yuan Renrenfa's "Autumn Water Crane Scroll" and "Erma Tu" volumes.
At the end of the Yuan Dynasty, the large-scale migration of scholars and prosperous artistic creation activities in Shanghai, in addition to the Pudong Zhenjing Nunnery, Dongxuan Danfang (Zou Fulei Brothers), Jingjing An Temple, Minhang Anguo Temple and other monasteries, mainly revolved around the southwest of Shanghai and the Taihu Lake Basin, Wumen area near the four places - Songjiang, Qingpu, Jiading, Jinshan and other literati garden residences. Since the beginning of the Ming Dynasty, there has been a trend of expansion from the northeast, such as huangpu pan's five-stone mountain house, gu name Ru luxiang garden, Xuhui "Shanghai Gu's" Yuhong Pavilion, Minhang Dong Yiyang's "Huangpu Above" Qushui Garden, pudong Lujiazui Lushenshan Academy and other literati famous forest gardens, have been completed.
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 were helpless to "throw themselves into the Idle River to avoid the crisis", then the subsequent relocation reflected the initiative, which is inseparable from the geographical and ecological environment of Shanghai since the beginning of the Ming Dynasty, especially the changes and formation of the water system dominated by the Huangpu River, and sometimes even synchronized.
Yuan Li Sheng DianHu Farewell Picture Volume Partial Shanghai Museum Collection
The Paper: From your personal point of view, what are the highlights of this exhibition in addition to the rediscovery and combing of the status of Shanghai Yuanming painting history?
Ling Lizhong: Another highlight is that some painters who have been ignored or submerged in the past, through the combing of the exhibition and the joint efforts of the academic community, have a lot of research, and they are different as individual examples and together.
Just as I have discovered and examined through new materials, I have 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 Shi as the pioneer of the Wumen School), Ma Yu, a native of Jiading (now part of Shanghai), whose birth and death are unknown, whose activities lasted between the eighth year of Yongle (1410) and the twenty-third year of Chenghua (1487), and was the son of ma Shi, a famous court painter in the early Ming Dynasty. Ma Yu lived in Suzhou late and interacted with the grandson of Shen Zhou (1427-1509), the head of the Wumen School, and his poetry and painting were extremely close. What is rare and valuable is that it is a curly pen and ink neat, mainly covered with hemp, skillful and unrestrained, condensed in the pen, moist in ink color, and its sharp and dignified brushwork interest, which is the first style of Shen's painting, and is one of the pioneering teachers of the "Wumen School", which is extremely rare.
Ming Ma Yu Qidian Guan Feng Chart Volume Introduction
Ming Ma Yu Qidian Guanfeng Picture Scroll Partial Shanghai Museum Collection
Ming Duqiong Nancun Villa Album Partial Shanghai Museum Collection
However, talking about Ma Yu alone is not enough to support and illustrate the influence of the Shanghai painting scene on the Wumen school of painting in the early Ming Dynasty that I want to explain in the exhibition.
I also want to join Kim Hyun and Tao Zongyi, but there are more than these in the history of art, and I also mentioned several people in my paper, including Wen Riguan, Zhang Zhong, Yang Weizhen, etc., and these people, I have a relatively clear influence on the Ming Four Schools of wumen painting with Shen Zhou as the mainstay.
By combing through and adding to the "Qianyuan" and "pioneer" figures of Shanghai Wumen who have been neglected or even almost submerged by the history of painting, such as Zhang Zhong, Wen Riguan, Ma Yu, Kim Hyun, etc., this academic view and their related works are presented in this exhibition, which can be regarded as a highlight of this exhibition.
It can be said that the main purpose of the in-depth study of art history, from many aspects, lies in the detailed reconstruction of the evolution of painting history, not because some important artists have few or few works, but ignore their unique significance in the history of painting, which is reflected in Wu Menmenyuan's research field, which may be more prominent. After filling in through our combing, we can present some objective realities, and I think we must have a new understanding of Shanghai's position in the painting world in the early Ming Dynasty.
Exhibition settings in the exhibition
Exhibition site
"Gu Lu Zhang He" and the combing of maritime collection history
The Paper: This exhibition is also very difficult to sort out the history of maritime collection. Including the more than 300 examples of "The Essentials of the Collection of Famous Paintings of French Books and Paintings in Shanghai Since the Song and Yuan Dynasties" appended to your catalogue, which can be regarded as the early academic accumulation of this exhibition.
Ling Lizhong: As another dark line in the study of painting history, the collection of calligraphy and painting plays an important role in examining the artistic soil on which artists grow. The third part of this exhibition focuses on the main stages of Shanghai's calligraphy and painting collection in the past seven hundred years from the end of the Yuan Dynasty to the end of the Qing Dynasty and the beginning of the Ming Dynasty, and I have sorted out the four stages, namely "Zhaoxing" (the end of the Yuan dynasty and the beginning of the Ming Dynasty), "four parts of the world" (the middle of the Ming Dynasty), "the peak" (the end of the Ming Dynasty and the beginning of the Qing Dynasty), and half of the Rivers and Mountains (the end of the Qing Dynasty and the beginning of the Ming Dynasty).
For example, in the middle of the Ming Dynasty, the collection activities in Shanghai mainly revolved around the four major families represented by "Gu Lu Zhang He", and their territorial distribution was expanded to both sides of the Huangpu River compared with the end of the Yuan Dynasty. A copy of Lu Shen's "Xingshu Collection of Calligraphy and Painting Manuscripts" exhibited in this exhibition can be regarded as a "record" of Lu's collection. Lu Shen, who lived in Pudong, was good at calligraphy and painting, and was also a connoisseur, and his family had a rich collection, but Lu did not like to print inscriptions on his collection, so the details of his collection were difficult to investigate. The Book collection of calligraphy and painting manuscripts is his daily notes, recording the collection between June and September of a certain year, which is particularly important for understanding the historical facts of his collection. It is known that in just three months, Lu Shi collected 89 paintings and calligraphy of the Tang, Song, Yuanming, and Ming Dynasties, of which Wang Wei, Han Gan, Li Gonglin, Guo Xi, Ma Hezhi, Zhao Mengfu, Huang Gongwang, Wang Meng, and other famous artists mainly wrote by them. One of the lu's old collections, Yang Weizhen's "Xingshu Zhenjing An Fundraising Yuanshu" volume, is also exhibited in this exhibition.
Part of Gu Kaizhi's "Female History Proverbs" volume collected by the Gu family at Shanghai Yuhong Museum (not in this exhibit)
Yuan Zhao Mengfu Xingshu is close to the poster page of the Shanghai Museum collection
Yuan Yang Weizhen Xingshu Zhenjing An Collection Partial Shanghai Museum Collection
As one of the core figures in the Collection of Calligraphy and Paintings in Jiangnan, the Gu family of Shanghai Yuhongguan has collected many famous relics in the sea, such as Gu Kaizhi's "Female History Zhentu" volume, Which was praised by Qianlong as the "Four Beautiful Tools", Li Sheng's "Xiaoxiang Lying Tour Map" volume, "Nine Song Map" volume and "Shujiang Map" volume, Mi Fu's "Shu Su Ti" volume, etc., and is famous for the "Chunhua Ge Ti" published by Yuhong Museum.
Jiading Qing secretly hid The Zhang clan is Zhang Yingwen. Zhang Yimen had close contacts with Wumen painters, and Wen Zhengming once painted and presented Zhang Yingwen. One of the exhibits in this exhibition is Zhang Yingwen's inscription "Jiangnan Spring Word Map" volume.
Similar to Lu Shen, Zhang Yingwen did not have a hobby of inscribing plutonium on his collection, and could only know a little about his family's collection according to his self-written "QingJu Zang". In March of the fourth year of Longqing, Zhang Yingwen personally observed a "Qing Play Meeting" that was almost a combination of "four parts of the world", and there were nearly 100 famous paintings of The Law books on display, interestingly, 5 of which were the same as the "National Treasure Exhibition of Jin, Tang, Song and Yuan Calligraphy and Paintings" held by the Shanghai Museum in 2002, namely Zhang Zeduan's "Map of the Qingming Upper River" of the Palace Museum, Zhao Tuo's "Map of the Return of the Snow River", Yang Ningshi's "Immortal Living Post", Zhao Biao's "Travel Map of Mrs. Zhang Xuanyuguo" of the Liaoning Provincial Museum, and Zhao Zhao's "True Grass Health Theory" of the Shanghai Museum. The rest are gu kaizhi's "Female History Zhentu", Yan Zhenqing's "Sacrifice nephew manuscript" and dozens of other pieces, which are the treasures of the town halls of today's collection institutions. The "Qing Play Club" can be called the first exhibition of national treasures of calligraphy and painting in history.
The four famous relics of the "Four Beauties", including Gu Kaizhi's "Female History Zhentu" volume (now in the collection of the British Museum in the United Kingdom), as well as the "Painting Zen Room" set up by Qianlong in the Forbidden City, these collections and even the names of Zhai are from the two Shanghai connoisseurs of the Ming Dynasty, Gu Congyi and Dong Qichang; for example, the formation and establishment of calligraphy and painting appraisal in the past hundred years is also closely related to Wu Hufan, the "founder of the discipline of modern and modern calligraphy and painting identification".
At the end of the Qing Dynasty and the beginning of the Ming Dynasty, with the opening of Shanghai's port for trade and becoming the commercial and cultural center of Jiangnan and even the whole country, Shanghai not only became the main position of the Maritime School of Painting, but also an important town for the circulation and dispersion of cultural relics, which also made the best preparation for the establishment of the Shanghai Museum, which was later known as the "half of the country" of Jiangnan cultural relics.
Exhibition Site "Yunlin Stone Spectrum"
The Paper: The fourth section of the exhibition, which is the content of the Maritime Painting School that is most well known to the audience, is from modern and modern art to the present, how did you plan it? The importance of modern Shanghai to Chinese history can be said to be multifaceted, quantitative and rich, so from the perspective of the selection of exhibits in the exhibition, how to choose may be a difficult point.
Ling Lizhong: The fourth part of the exhibition of modern and contemporary Shanghai art begins in 1843. The fourth part of the exhibition hall is also the largest and occupies a large space. General exhibitions may start from one or two points, we have seven or eight points this time, involving publishing, traditional Hai school, Lingnan school of painting, pictorial publishing, revolutionaries who have had an important impact on the development of modern art in Shanghai, as well as the intersection of Chinese and Western paintings such as the impact of Chinese painting on the world, and talk about the new generation of Shanghai school, Huang Binhong, Pan Tianshou, Guan Liang, Qi Baishi, Zhang Daqian, etc., as well as printmaking achievements, The Western painting movement, pictorial publishing, collection, and Yan Wenliang to Chen Yifei's new Chinese art works, etc. Comprehensively display the development process and artistic achievements of maritime art.
The works on display include the original manuscript page of Wu Youru Dianshizhai Pictorial in the Qing Dynasty, Zhao Zhiqian's "Album of Letters and Letters", "Chrysanthemum Chart Axis", Wang Zhen's "Pang Xuzhai Holding Rabbit Chart Axis", modern Cai Yuanpei's "Xingshu Luyou Dengdongshan Poetry Axis", Chen Duxiu's "Cursive Seven Words", Huang Yanpei's "Xingshu Gradually Eastward Journey" poetry axis, modern Zhang Daqian's "Portrait Chart Axis of Zeng Xi and Li Ruiqing", Lin Fengmian's "Picture of a Lady Holding a Mirror", Bai Shuo's "Molan Chart Axis", Feng Zikai's "Qingqian Qiu Tu Axis", Wu Hufan's "Celebrating the Success of China's Atomic Bomb Explosion", Song Qingling Tribute to the Chinese Communist Party Manuscript Page". The poster of this exhibition is Lu Yushao's "Yong Li Chao Tou", this painting also symbolizes our city spirit, the innovative spirit of Yong Li Chao Tou. This work is also one of the 14 works donated by Lu Yushao to Shangbo.
The Paper: Would you like to introduce some more interesting exhibits? Many of the exhibits in this exhibition are also debuting, and I found that many famous artists this time, except for Mi Fu's "Xingshu Dao Zu Ti", are in a prominent position, because he has been a town supervisor in Qinglong Town, Shanghai, and calligraphy masterpieces like Su Shi and Zhao Mengfu appear in the form of supporting roles in the exhibition.
Ling Lizhong: The Ming Dynasty Ma Yu piece is very meaningful, and there are actually many interesting rare exhibits, and 70% of the exhibits this time are debuted. For example, Mi Fu's calligraphy "Xingshu Dao Zu Ti" was exhibited for the first time and has never been publicly announced before. During the Northern Song Dynasty, due to the prosperity of maritime trade, the scale of Huating Qinglong Town was considerable, so the imperial court set up a salt town, and Yuanfeng Five Years (1082) Mi Fu was the town supervisor. Although the words of the "Xingshu Dao Zu Ti" are few and bright, they have the tendency of the dragon to jump and tiger, which is a good composition for the mature period of the Mi family.
Northern Song Dynasty Mi Fu Xing Shu Dao Zu Ti Scroll Shanghai Museum Collection
Xingshu Supplement Northern Song Dynasty Su Shi Xie Minshi Thesis Sticker Partial Ming Lou Jian Shanghai Museum Collection
There is also a hinge of the poem titled Poem by the great Indian poet Tagore presented in modern times, which is a poem written by Xu Zhimo, a small man on the land and water, which has many stories and is very precious. Tagore visited China three times, shanghai three times, and received him with Xu Zhimo, and the two poets formed a deep friendship. At Xu Zhimo's home, Tagore and Xu Zhimo discuss the benefits of Chinese brushes, and after the first trial, the poet rose up to use a brush to paint a small mountain for Xu and his wife. At first glance, the top of this mountain actually has similarities with a mountain in Zhao Mengfu's "Quehua Autumn Color Map". Lu Xiaoman inscribed on the album page: "This painting was when Tagore lived in my house when he came to China for the second time in 1927, and one day after dinner comrade Mo chatted and talked about the benefits of the Chinese pen, so he picked up the pen, tried it for the first time, and casually drew a souvenir sketch to give to us." After many years, many other souvenirs have been lost, and it is a pity to find only this one. In 1958, Lu Xiaoman remembered again. ”
Present Xu Zhimo Landscape Water land small Man inscription poem hinge modern Tagore (India) Shanghai Museum collection
The Paper: Let's talk about the last work in the exhibition, "Ten Thousand Years of Eternal Spring", when was this one collected?
Ling Lizhong: This work was made by Liu Haisu and other famous artists on the sea to celebrate the 35th anniversary of the founding of the Communist Party of China, and it is very precious. The painting depicts pine trees, lake stones, peonies, daffodils, ganoderma lucidum and other auspicious flowers and trees, a vibrant and peaceful scene. The picture is rich in color and red, setting off a festive atmosphere. The picture is titled "Ten Thousand Years of Changchun", and these four characters were written by Wu Dongmai, the third son of Wu Changshuo, and are full of the painters' good wishes for the Chinese Communist Party. The title of the exhibition is derived from this work. It is worth mentioning that this work is a new collection of works collected by the Shanghai Museum last year to prepare for this exhibition.
Modern Liu Haisu et al. Ten Thousand Years of Changchun Chart Axis Shanghai Museum Collection
The Paper: The Jin Dynasty Lu Ji's "Ping Fu Ti" exhibited this time is an expanded version, not an ink copy, as if you did not borrow from museums outside Shanghai this time, nor did you have the "Global Mobilization" like the previous Shangbot exhibition, why? Are there any regrets about this exhibition?
Ling Lizhong: The Lu Ji surviving ink "Ping Fu Ti" collected by the Palace Museum is the earliest surviving ink of an ancient master, known as the "Ancestor of the Fa Ti", which has been exhibited in Shangbo before. The version exhibited by the Shangbo is "Qiubitang Ben" and "PingFu Ti", which is the beginning of the "Ping Fu Ti" into the stone, and the engraving is the most exquisite. Speaking of the biggest regret of this time, because of the epidemic, last year's planning did not consider the "global mobilization" curatorial method such as Dong Qichang's calligraphy and painting exhibition, which mainly exhibited the collection of the Shanghai Museum, and some important collections came from the Shanghai Library, the Shanghai Municipal History Museum (Shanghai Revolutionary History Museum), the Shanghai Academy of Chinese Painting and other lending units. The inkblot of Lu Ji's "Ping Fu Ti" you mentioned is expected to be compensated for in the future when it is first exhibited in the "Maritime Calligraphy and Painting Museum" in the East Hall of the Shanghai Museum.
Western Jin Dynasty Lu Ji Cursive Pingfu Post Page Shanghai Library Collection
List of exhibits
Editor-in-Charge: Li Mei