首屆國際博物館館長論壇特別展 借古開今——江蘇省美術館藏明清繪畫展
| 2018-06-30來源：江蘇省美術館 |
展 覽 信 息 首屆國際博物館館長論壇特別展 借古開今——江蘇省美術館藏明清繪畫展 Special Exhibition for the First International Museum Directors’ Forum Inheritance & Innovation ——Collection of Paintings from Ming to Qing Dynasties at Jiangsu Art Museum
主辦單位：江蘇省美術館 展覽時間：2018.5.22-6.10 Sponsor：Jiangsu Provincial Art Gallery Dates of Exihibit：May 22 to June 10,2018
作為人類的理念與情感訴諸于視覺表達的形式，藝術給人以知覺的延伸和審美的享受，其精神價值為社會所共饗。因此，美術館的藏品不僅屬于其自身，更是整個社會共同的瑰寶和財富，不論美術館的未來發展如何遞進，對藏品的研究和展示都是極為重要的。江蘇省美術館在首屆國際博物館館長論壇之際特別推出館藏明清繪畫展，旨在通過此次展覽對明清繪畫精品的梳理和研究，呈現中國古代傳統繪畫的精神與意涵。 明清之際江南地區人文薈萃、經濟富庶，是文化藝術的重鎮。許多畫家文人在此棲居云集，創作和購藏活動鼎盛，因此構成了中國古代繪畫高度繁榮的時期，而他們的詩性與畫意，歷經數百年的筆墨浸潤，也給江蘇留下了豐厚的文化遺產。“借古以開今”為石濤所言，在宋元以來的傳統涵養之下，明清繪畫習古人的傳統法則，而跳出古人窠臼，自成一家。明中期以前宮廷繪畫繼承了兩宋院體而重新昌盛,而吳門畫派則發展了元代文人畫傳統，注重筆墨表現，追求平淡自然的意境與格調，自董其昌提出“南北宗論”以后，文人畫逐漸以其意氣、學養、品格逐漸成為當時畫壇之主流，至“四王”一脈不斷得到發展和延續。及至清代，隨著市民階層的壯大和西洋畫法的傳入，繪畫題材和風格既在繼承傳統的基礎上有所變化和發展，同時也開拓創新出面貌更為多樣的畫法形式，逐漸形成雅俗共賞、中西交融的趣味和格局。 山水畫方面，明清諸家追慕古人，融合各家，稍變其法。展覽中的山水畫名家于丘壑、筆墨、意境各有所成，或重筆墨傳承，亦不乏自出機杼者；或重抒寫性靈，丘壑獨運，而獨標一格者。此次展覽涵蓋了館藏明代吳門畫派之沈周、華亭派之宋旭、云間派之沈士充、金陵八家之龔賢、“四王”及其承續者、海上畫派之蒲華、吳石仙等諸家精品，呈現出明清山水畫的大體格局以及承傳有序的發展脈絡。而在人物畫和花鳥畫方面，則包括有晚明丁云鵬、清初謝彬、金陵八家之吳宏、揚州畫派之邊壽民、李鱓、黃慎、鄭燮、李方膺，海上畫派之王素、任熊、虛谷、趙之謙、蒲華、沙馥、錢慧安、任薰、任頤、吳昌碩等。明清兩代的花鳥畫兼工帶寫，尤其將寫意花鳥畫的發展推向了一個新的高峰；人物畫則因受到西方繪畫的影響，在歷代人物畫的格局發展以來形成突破，呈現出更為多樣化的發展面貌?！?/p> 明清繪畫上承宋元，一方面在筆墨經營和意趣上不斷深入耕耘，另一方面在表現形式和題材上不斷探索，為清以后的繪畫更豐富的發展方向提供了基礎和養分，其中所涵蓋和積淀的寫意精神、金石韻味，以及所吸收的民間藝術元素等無一不灌注了創作主體的情感與性靈。這種追求主體意識和多元審美的趨向，在明清達到了高峰，及至今日仍有滋養藝術和文化的重要意義。 江蘇省美術館通過推動藏品的研究和展示，將其放置在時代背景和連貫的中國繪畫發展史中整體考察，不僅力圖印證明清繪畫不斷演化創新的風格特征，彰顯出傳承有序的歷史軌跡，同時更期望以其呈現出中國傳統文化的悠久歷史以及時至今日仍在勃發的強大生命力，帶給不同國界的觀眾以共性的精神享受和文化熏陶。 江蘇省美術館館長
Art, the visual expression of the conception and emotion of human beings, impresses us with extension of perception and enjoyment of aesthetics. Its spiritual value is shared by the society. As a result, the museum's collection extends from the belonging of museum itself to common treasure and wealth of the entire society. Regardless of the future development of museum, the research and display of the collection is extremely important. The Jiangsu Art Museum launched the Exhibition for the Collection of Paintings of the Ming and Qing Dynasties on the occasion of the first International Museum Directors' Forum for the purpose to present the spirit and connotation of ancient Chinese traditional paintings by sorting out and researching the fine paintings of the Ming and Qing Dynasties,. In the Ming and Qing dynasties, the Jiangnan region was a place of strategic importance for cultural art with its well-developed culture and economy. It attracted many painters and literati to gather and inhabit here, in result of a period of highly prosperous Chinese ancient paintings with prosperous creation, purchase and collection. Their poetry and paintings, after centuries of cultural deposit, left a great cultural legacy for Jiangsu. As Shi Tao once said, “innovation developed based on past accumulation”. Influenced by the traditional cultivation of the Song and Yuan Dynasties, the painting of Ming and Qing Dynasties followed the ancient principles and initiated a new school in spite of the old styles. Before the mid-Ming dynasty, court paintings inherited the academic painting school of Song dynasties and rejuvenated, while the Wumen Painting School developed the literary traditions of the Yuan dynasty, highlighting ink performance and pursuing the plain and natural artistic atmosphere and style. After Dong Qichang proposed the “South-North School”, the literati painting gradually became the mainstream of the painting circle with its manner, cultivation and character. It had been developed consistently until the generation of "four Wangs". In the Qing dynasty, with the growth of the citizen class and the introduction of western painting techniques, the themes and styles of paintings not only changed and developed on the basis of the inherited traditions, but also innovated various forms of painting techniques so as to integrate Chinese and Western cultures and refined and popular tastes. As for landscape painting, the painters in the Ming and Qing dynasties followed the ancients and integrated various schools with slight changes in the techniques. The famous landscape artists in the exhibition made accomplishments in gully, inks and artistic conception. They either inherited from the old painting techniques, or created new schools; or focused on natural disposition with unique features. This exhibition contains works of Shen Zhou of the Wumen School in the Ming dynasty, Song Xu of the Huating School, Shen Shichong of the Yunjian School, Gong Xian of the Eight Jinling Schools, the “Four Wangs” and their continuators as well as Puhua of the Shanghai Painting School, various masterpieces of Wu Shixian and some others. It presents the general pattern of the Ming and Qing landscape paintings and the development context of sequent inheritance. As for portrait paintings and flower and bird paintings, the painters include Ding Yunpeng in late Ming dynasty, Xie Bin in early Qing dynasty, Wu Hong from Jinling Eight Schools, Bian Shoumin, Li Shan, Huang Shen, Zheng Xie, Li Fangying of Yangzhou Painting School, and Wang Su, Ren Xiong, Xu Gu, Zhao Zhiqian, Pu Hua, Sha Fu, Qian Hui’an, Ren Xun, Ren Yi and Wu Changshuo of Shanghai Painting School. In the Ming and Qing dynasties, flower and bird painting features combination of fine brushwork and freehand brushwork, and in particular, the development of freehand flower and bird paintings was promoted to a new height; the portrait paintings, influenced by Western paintings, made breakthroughs based on the pattern development of ancient portrait paintings, presenting more diverse development forms. Paintings in the Ming and Qing dynasties inherited from the Song and Yuan dynasties. On the one hand, they further developed the painting techniques and interest. On the other hand, they constantly explored the forms and subjects, providing the foundation and nutrients for various development tendency of painting after the Qing dynasty. The freehand spirits and valuable charms it contained and accumulated, the folk art elements it absorbed are all devoted with the emotion and soul of the creators. This trend of pursuing subject consciousness and diversified aesthetics reached its peak in the Ming and Qing dynasties and still possesses great significance for nourishing art and culture nowadays. The Jiangsu Art Museum promotes the research and display of the collection and places them in the historical background and the sequent development history of Chinese painting. It not only seeks to prove the style characteristics of constant evolution and innovation of the painting in the Ming and Qing dynasty, but also shows the orderly historical path of sequent inherence. At the same time, it is also for the purpose to present the long history of traditional Chinese culture and the powerful vitality even today, and to provide the audience from different nations with a common spiritual enjoyment and cultural education. Xu Huiquan Director of Jiangsu Art Museum
責任編輯：王潔 |
