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畫屏:傳統與未來

展覽時間: 2019年9月06日(周五) - 12月06日(周五) 展覽地點: 中央大廳、負一樓臨展廳、二樓書畫廳、忠王府楠木廳、忠王府庭院、現代藝術廳 策展人: 巫鴻

“君寫我詩盈寺壁,我題君句滿屏風。”這是唐代詩人白居易《答微之》中的句子。一千兩百年前,元、白二人遠隔萬里,寫詩互傾衷腸。千載以下,每誦此詩,依稀還能想見那扇寫滿元稹絕句的六曲連屏。

在中國傳統語境中,畫屏是一個內涵獨特而外延豐富的存在。它跨越了歷史與藝術,洋溢著生活的氣息,見證了朝代更迭,新皇舊帝,坐擁其前;見證了詩酒流連,騷人墨客,歡宴于前;見證了生死離別,才子佳人,啼笑于前。它上登廟堂,下陳閨房,傅于毫素,傳之四方,甚而隨斯人入于地下,逾千百年而重光,相對無言,滿是寂寞,滿是滄桑。

正是畫屏這種多面、立體的藝術特性,催生了今人對中國古代屏風多元而靈活的研究。從傳世或出土的實物屏風、書畫中的圖像類屏風、文獻中屏風史料等多個維度,相互結合,相互碰撞,來探究這一充滿迷人魅力、富于神秘氣質的現象。摒棄固有的視角,不為專業所限,嘗試全方位、多角度來發掘、研究、欣賞畫屏,是本次展覽的契機。

盡管畫屏的實用功能在不斷蛻化,逐漸脫離現實生活,但它同時也在轉變與升華,努力于無形中融入當下。如何將之轉化成當代藝術創作的主題,如何將之與未來的藝術創作產生鏈接,立足當下,回顧傳統,面向未來,是本次展覽探索的方向。

本次展覽得到故宮博物院、上海博物館、南京博物院、河北博物院、山西博物院、湖南省博物館、浙江省博物館、四川博物院、重慶中國三峽博物館、新疆維吾爾自治區博物館、避暑山莊博物館、河北省文物研究所、四川瀘縣宋代石刻博物館、深圳市金石藝術博物館、朵云軒木版水印分公司以及美國納爾遜·阿特金斯藝術博物館、美國芝加哥藝術博物館、美國波士頓美術博物館等單位的大力支持,在此謹表示最誠摯的感謝。

是為序。

蘇州博物館館長 陳瑞近

進入展廳

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

畫屏在古代中國美術中具有獨特的“三位一體”身份:它既是一種極為重要的繪畫媒材,又是可供近距離欣賞的以不同材料制成的物品,還是協助建構室內外空間的準建筑構件。這一特性使屏風在傳統美術中扮演了耐人尋味的角色,把圖像、空間和物品這三個視覺藝術中的基本元素凝聚在綜合性的藝術創造之中。這種情況不但在中國美術中是獨特的,在世界藝術史中也不多見。由于這個原因,雖然屏風這一形式在現代時期退出了人們的日常生活,但它的素質已經化為中國藝術基因的一部分。它持續的生命力不是表面的,而是潛藏在中國文化的底蘊和中國藝術家的深層思維之中。

本展覽是對“畫屏“這一藝術形式的首次大型展示,把精心選擇的一批具有代表性的作品和藝術家系統的介紹給公眾。對于古代藝術的研究和欣賞,我們希望這個展覽可以揭示畫屏在中國傳統文化和藝術發展中的關鍵作用,探討其跨越書畫、建筑和器物的綜合性能,從而擴展藝術史研究的方法和角度。對于當代藝術的介紹和理解,我們希望這個展覽可以引入一個新的角度,通過建立與傳統藝術的對話,在發掘一個古老藝術傳統的持續生命的同時,彰顯中國當代藝術的一種特殊文化淵源。

策展人 巫鴻

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
    很好的展覽,支持。
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