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画屏:传统与未来

展览时间: 2019年9月06日(周五) - 12月06日(周五) 展览地点: 中央大厅、负一楼临展厅、二楼书画厅、忠王府楠木厅、忠王府庭院、现代艺术厅 策展人: 巫鸿

“君写我诗盈寺壁,我题君句满屏风。”这是唐代诗人白居易《答微之》中的句子。一千两百年前,元、白二人远隔万里,写诗互倾衷肠。千载以下,每诵此诗,依稀还能想见那扇写满元稹绝句的六曲连屏。

在中国传统语境中,画屏是一个内涵独特而外延丰富的存在。它跨越了历史与艺术,洋溢着生活的气息,见证了朝代更迭,新皇旧帝,坐拥其前;见证了诗酒流连,骚人墨客,欢宴于前;见证了生死离别,才子佳人,啼笑于前。它上登庙堂,下陈闺房,傅于毫素,传之四方,甚而随斯人入于地下,逾千百年而重光,相对无言,满是寂寞,满是沧桑。

正是画屏这种多面、立体的艺术特性,催生了今人对中国古代屏风多元而灵活的研究。从传世或出土的实物屏风、书画中的图像类屏风、文献中屏风史料等多个维度,相互结合,相互碰撞,来探究这一充满迷人魅力、富于神秘气质的现象。摒弃固有的视角,不为专业所限,尝试全方位、多角度来发掘、研究、欣赏画屏,是本次展览的契机。

尽管画屏的实用功能在不断蜕化,逐渐脱离现实生活,但它同时也在转变与升华,努力于无形中融入当下。如何将之转化成当代艺术创作的主题,如何将之与未来的艺术创作产生链接,立足当下,回顾传统,面向未来,是本次展览探索的方向。

本次展览得到故宫博物院、上海博物馆、南京博物院、河北博物院、山西博物院、湖南省博物馆、浙江省博物馆、四川博物院、重庆中国三峡博物馆、新疆维吾尔自治区博物馆、避暑山庄博物馆、河北省文物研究所、四川泸县宋代石刻博物馆、深圳市金石艺术博物馆、朵云轩木版水印分公司以及美国纳尔逊·阿特金斯艺术博物馆、美国芝加哥艺术博物馆、美国波士顿美术博物馆等单位的大力支持,在此谨表示最诚挚的感谢。

是为序。

苏州博物馆馆长 陈瑞近

进入展厅

Preface

In one verse of the Tang Dynasty poet Bai Juyi, he describes the two distant friends, Yuan and Bai, writing poems to tell how much they miss each other. Even after over 1000 years, we could still see the six-fold screen filled by the poems of Yuan Zhen.

In Chinese traditional context, painted screen has special internal meanings and outside appearances. It penetrates through history and art—it accompanies people’s lives; watches era change and emperors come and go; witnesses poets drinking and composing, scholars dancing and feasting; sees lives and deaths, happiness and tears, meetings and partings… It is placed in various locations, ranging from the emperor’s court to ordinary residences, even accompanies its owner in another world. It does not talk, but we can see the thousand years of loneliness and tire through its soundless language.

It is the multi-dimensional characteristic of screen that inspires contemporary researches toward Chinese traditional screen. Based on the unearthed or inherited real screens, the images of screens in paintings, and historical records, researchers study this mystical item from different perspectives. The purpose of this exhibition is to throw away fixed viewpoints and go beyond disciplines, and try to study and appreciate painted screen in a more broad way.

Although screen is playing an increasingly less important role in our daily life, it is transforming to adapt itself to the “present”. We would like to look for a way to connect screen with contemporary and future art creation, which means we need to stay in the presence as well as analyze the past and look into the future.

For this exhibition, we received support from the Palace Museum, Shanghai Museum, Nanjing Museum, Hebei Museum, Shanxi Museum, Hunan Museum, Zhejiang Provincial Museum, Sichuan Museum, Chongqing China Three Gorges Museum, Xinjiang Uighur Autonomous Region Museum, Chengde Summer Resort Museum, Hebei Provincial Research Institute of Cultural Relics, Luxian Museum of Southern Song Dynasty Stone Inscription, Shenzhen Goldstone Museum of Art, Duo-Yun-Xuan’s Branch, Nelson-Atkins Museum of Art, Art Institute of Chicago, and Museum of Fine Arts, Boston. We would like to extend sincere gratitude for their help.

As is the preface.

Chen Ruijin

Director of Suzhou Museum

画屏在古代中国美术中具有独特的“三位一体”身份:它既是一种极为重要的绘画媒材,又是可供近距离欣赏的以不同材料制成的物品,还是协助建构室内外空间的准建筑构件。这一特性使屏风在传统美术中扮演了耐人寻味的角色,把图像、空间和物品这三个视觉艺术中的基本元素凝聚在综合性的艺术创造之中。这种情况不但在中国美术中是独特的,在世界艺术史中也不多见。由于这个原因,虽然屏风这一形式在现代时期退出了人们的日常生活,但它的素质已经化为中国艺术基因的一部分。它持续的生命力不是表面的,而是潜藏在中国文化的底蕴和中国艺术家的深层思维之中。

本展览是对“画屏“这一艺术形式的首次大型展示,把精心选择的一批具有代表性的作品和艺术家系统的介绍给公众。对于古代艺术的研究和欣赏,我们希望这个展览可以揭示画屏在中国传统文化和艺术发展中的关键作用,探讨其跨越书画、建筑和器物的综合性能,从而扩展艺术史研究的方法和角度。对于当代艺术的介绍和理解,我们希望这个展览可以引入一个新的角度,通过建立与传统艺术的对话,在发掘一个古老艺术传统的持续生命的同时,彰显中国当代艺术的一种特殊文化渊源。

策展人 巫鸿

Preface

The painted screen constitutes a unique trinity in Chinese art history: it is at once an important painting medium, an artefact made of different possible materials that can be appreciated up close, and an architectonic component that helps construct inner and outer spaces. This intriguing characteristic enables the screen to combine image, space, and object—the three basic elements of visual art. This is not only a unique case in Chinese art, but also rare in world art history. For this reason, although the screen is no longer an important part of modern daily life, its spirit still lives on in Chinese art and continues to influence it. The screen’s vitality is not superficial, but is deeply engrained in Chinese culture and in the minds of Chinese artists even today.

The current exhibition is the first large museum introduction to the painted screen, bringing a group of representative works and artists to the public. For the study and appreciation of premodern art, we hope that this exhibition will reveal the important role that the screen played in Chinese traditional culture as well as in the development of visual art. Investigating its integration of painting and calligraphy, architecture and objecthood helps expand the method and perspective of art historical research. For the introduction and understanding of contemporary art, by showing how the continuation of an old artistic tradition becomes a generative source in contemporary Chinese art, this exhibition opens up a new way to connect past and present.

Wu Hung (Curator)


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  • wenqiang2019-09-24 16:20:56
    很好的展览,支持。