“藏天下”系列 古典的回响——溪客旧庐藏明清文人绘画展

展览时间:2024-08-08 到 2024-11-10
展览地点:苏州博物馆西馆3楼 书画厅、特展厅

序1

       文物,承载灿烂文明,传承历史文化,维系民族精神。中华民族在悠久的历史长河中,留存了灿若星辰的文物珍宝。这些散落于民间的珍宝,因“藏”而传承千年,形成了一座底蕴深厚的文化宝藏。2021年,国家文物局等多部门联合出台的《关于加强民间收藏文物管理促进文物市场有序发展的意见》,从制度层面为我们发掘这座民间文化宝藏进一步“松绑”。“藏天下”系列展览孕育而生,将民间珍藏陈列于文化殿堂,为广大观众带来文化盛宴。

     “藏”之于民间,是源自融入血脉的文化基因,是对中华文明辉煌成就的高度认同和珍视。“藏天下”之于苏州博物馆,非一馆之囿,乃四海之广;非一己之私,乃万众之享。由于各种历史原因,苏州博物馆馆藏资源有限,为进一步提升展览质量,全面展示中华文明的源远流长,我们矢志成为一叶文化之舟,深入民间收藏之海,寻觅那些被岁月打磨仍然熠熠生辉的文物瑰宝,让每一份文化记忆都得到应有的尊重与传承。

    “藏天下”系列展览,强调的是一种可持续发展的文化生态。在策划与实施这一系列展览的过程中,我们始终秉持着开放、包容、共赢的理念,不断完善合作机制,努力为社会力量参与博物馆事业创造更好的条件。我们期待通过此系列展览,让更多社会藏家感受到博物馆在保护利用文物资源、传承弘扬传统文化上所做的不懈努力,进一步加深藏家对博物馆的信任,从而更好地拓宽文物入藏渠道,不断丰富苏州博物馆的馆藏体系。同时,通过“藏天下”系列展览,我们希望开辟一条新的途径,探索民间收藏文物的保护和利用渠道。

      面向未来,我们将继续秉持“立江南,观世界,藏天下”的办馆思路,用心用情讲好中国故事,与社会各界共同携手,为推进中国博物馆事业高质量发展提供可资借鉴的“苏博方案”。


谢晓婷  

苏州博物馆馆长


Foreword 1

Cultural relics, which carry splendid civilization, inherit history and culture, and maintain the national spirit. In the long development course, Chinese nation has accumulated a constellation of splendid cultural relics. Thanks to private collections, the scattered treasures have been passed on for thousands of years and become a part of the profound cultural deposits. In 2021, the National Cultural Heritage Administration and other departments jointly issued the Opinions on Strengthening the Management of Private Collections of Cultural Relics and Promoting the Orderly Development of the Cultural Relics Market, which enabled an easier access to the private cultural treasures. The “Collection from the World” series exhibitions aim to display these private collections in the cultural hall, bringing a cultural feast to the general audience.


For the people, “collection” is a cultural gene that originates from the bloodline, and is a high degree of recognition and appreciation of the glorious achievements of Chinese civilization. For Suzhou Museum, “Collection from the World” is not limited to one museum, but a wide range of collection from the collectors of the world; it is not privately owned by an individual, but for the enjoyment of all. Due to various historical reasons, the collection of Suzhou Museum is limited. In order to further improve the quality of the exhibition and fully demonstrate the long history of Chinese civilization, we are determined to serve as a boat of culture, dive into the sea of folk collections, and find those cultural treasures that are polished by time and still shining, so that every cultural memory can be respected and passed on.


“Collection from the World” series exhibitions highlight a sustainable cultural ecology. In the process of planning and displaying this series of exhibitions, we always uphold the concept of “openness, inclusiveness and win-win cooperation”, constantly improve the cooperation mechanism, and strive to create better conditions for social forces to participate in the museum cause. We hope that through this series of exhibitions, more social collectors will feel that the museum has made unremitting efforts in the protection and utilization of cultural relics resources, and in the inheritance and promotion of traditional culture, which will further deepen the trust of collectors in the museum, so as to better broaden the channels for cultural relics to be included in the collection, and continuously enrich the collection system of Suzhou Museum. At the same time, we hope to explore a new channel for the protection and utilization of privately collected cultural relics.


In the future, we will continue to uphold the concept of “From Jiangnan to the world” and dedicate to telling Chinese stories to the world. Suzhou Museum will make joint efforts with people from all walks of life and set an example for the high-quality development of Chinese museums.

Xie Xiaoting

Director of Suzhou Museum

 

 

序2

       十五世纪中叶,吴下的文人画家们厌倦了明初以降的宫廷绘画和浙派山水,将目光投向元代,意图以赵孟頫等人的方法建立一种新的画风。他们将元代大师的风格融汇于个人的绘画语言,创造出属于自己的传统和经典,以沈周、文徵明为代表的吴派风格风行画坛一个世纪之久。然而“时流易趋,古意难复”,到晚明,吴派末流陈陈相因而导致的困境再次引发了对绘画本源的探求。此时的江南画坛生机勃发,人们都在尝试新的可能性。松江人董其昌以禅论画,确立五代董源“士夫家之最”的宗师地位,以及元代黄公望、吴镇、倪瓒和王蒙四人为正传的师承体系,即所谓的“南宗正脉”。“南宗理论”大约在1600年左右成型,一经传布便立即得到同侪和后辈画家的欢迎。王时敏和王鉴以各自的创作实践回应和推扬老师的理论,他们致力于在作品中恢复和重构古典语汇,为画家提供具有实战意义的理想化模本。从某种意义上说,他们重新发现并厘清了已经变得模糊的古典绘画语言,从而推动了一场文艺复兴式的绘画复古运动,这在中国画史上是绝无仅有的。

      这场复古运动最初在以松江和太仓为中心的江南一带进行。十七世纪末,随着王时敏的长孙王原祁入京、成为深得康熙帝眷宠的文学侍从,以及学生王翬成为康熙《南巡图》的总画师,他们所推崇的古典风格被带入宫廷,深刻地影响了皇家的审美趣味。到十八世纪时,中枢的上层文士中形成了一股强大的“正统派”力量,他们以太仓二王(王时敏和王原祁)为圭臬。因为皇帝的介入和推动,他们的艺术创作表现出前所未有的活跃。

       十七世纪开始的这一复兴运动曾经横遭訾议,被认为只是一味复古而毫无创新。其实,画家们是试图在古代典范中找回绘画的真然本色,去发现新知识、新动力,去创造文人画的新历史,是“文艺复兴”。“文艺复兴”不独存在于西方艺术史,绘画作为一种视觉艺术,不论中西方均有着类似的发展规律。正是缘于画家们自觉的画史意识,中国山水画的发展才始终没有脱离前代的经典,也因此而创造了每一个时代的辉煌。我们的展览就是为了呈现这些时代,更重要的,是标记创造了时代的人们。

 

策展人

章晖


Foreword 2

In the mid-fifteenth century, literati painters in Wu region (modern-day Suzhou) grew weary of the court paintings and Zhejiang school landscapes that had dominated since the early Ming Dynasty. They turned their gaze to the Yuan Dynasty, aiming to establish a new painting style using methods pioneered by Zhao Mengfu and others. By integrating the styles of Yuan masters into their own artistic language, they created a unique tradition and classic. The Wu school style, represented by Shen Zhou and Wen Zhengming, dominated the painting scene for a century. However, as time changed, the ancient spirit became difficult to revive. By the late Ming, the stagnation of the declining Wu school prompted a renewed exploration of the essence of painting. The painting scene in Jiangnan was brimming with vitality, and everyone was experimenting with new possibilities. Dong Qichang from Songjiang applied Chan (Zen) theory to painting, establishing Dong Yuan of the Five Dynasties as the preeminent master of literati painting, and positioning the Yuan masters Huang Gongwang, Wu Zhen, Ni Zan, and Wang Meng as the legitimate lineage, known as the "Southern School" orthodoxy. This theory, formed around 1600, was quickly embraced by his peers and later painters. Wang Shimin and Wang Jian promoted their teacher's theory through their own works, striving to restore and reconstruct classical vocabulary in their paintings, thus providing idealized models for practical use. In a sense, they rediscovered and clarified the once-obscured classical painting language, propelling a Renaissance-like revival movement in Chinese painting history, which is unparalleled.

 

This revival initially took place in the Jiangnan region, centered around Songjiang and Taicang. By the late seventeenth century, Wang Shimin's grandson Wang Yuanqi had moved to Beijing, becoming a favored literary attendant of the Kangxi Emperor, while his student Wang Hui became the chief painter of the Kangxi Emperor's "Southern Inspection Tour Scrolls". Their revered classical style was introduced to the court, profoundly influencing the imperial aesthetic taste. By the eighteenth century, a powerful "Orthodox School" emerged among the high-ranking literati in the capital, taking the two Wangs of Taicang (Wang Shimin and Wang Yuanqi) as their models. With the emperor's involvement and promotion, their artistic creations reached unprecedented levels of activity.

 

This revival movement, which began in the seventeenth century, was once criticized as mere imitation without innovation. However, the painters were attempting to rediscover the true essence of painting within ancient paradigms, to uncover new knowledge, new motivations, and to create a new history of literati painting. This was a "Renaissance". The concept of "Renaissance" is not exclusive to Western art history; painting, as a visual art form, follows similar developmental patterns in both the East and West. It is due to the painters' conscious awareness of art history that Chinese landscape painting has always remained connected to classical traditions, creating brilliance in every era. Our exhibition aims to present these eras and, more importantly, to highlight the people who created them.

Curator

Zhang Hui