<p class="ql-block">王翚的《小中现大图册》（续）</p> <p class="ql-block">王翚的绘画艺术</p><p class="ql-block">王翚（1632-1717），字石谷，号臞樵，别号乌目山人、耕烟散人、清晖主人、剑门樵客，今江苏省常熟市人，与王时敏、王鑑、王原祁合称“四王”，与王鑑并称“虞山画派”。王翠的绘画艺术，追慕师祖董其昌的艺术理想，集历代山水画名家之大成，融会南北二宗而自成一格。他总结道：“以元人笔墨，运宋人丘壑，而泽以唐人气韵，乃为大成。”本展《小中现大图》册是其师法先贤的见证，而《重江叠嶂图》卷则是他艺术成就的重要代表作。</p><p class="ql-block">Art of Wang Hui</p><p class="ql-block">Wang Hui (1632-1717), also known by his zi (designated name) Shigu, and his hao (literary names) Wumu Shanren, Gengyan Sanren, Qinghui Zhuren, and Jianmen Qiaoke, was native to Changshu, Zhejiang province. He, along with Wang Shimin, Wang Jian, and Wang Yuanqi, is collectively known as the "Four Wangs." Wang Hui and Wang Jian initiated a style of painting that is referred to as the "Yushan School" by later generations. Wang Hui's painting style emulated the artistic ideals of Dong Qichang, synthesizing the achievements of famous landscape painters throughout history, and incorporating the Southern and Northern schools into his own unique style. He reflected on and summarized his journey of painting: "I paint with brushstrokes and ink methods from the Yuan dynasty, depict landscapes of the Song dynasty, and imbue paintings with the Tang dynasty style, which is a combination of the past great achievements." In this exhibition, Greatness in the Small showcases his study of the masters from the past, while Rivers among Layered Peaks represents his achievements in art.</p> <p class="ql-block">清 王翠 《重江叠嶂图卷》</p><p class="ql-block">康熙二十三年（1684），时年五十三岁的王翚应好友吴开治之邀结夏南京，此卷应是为吴正治、吴开治兄弟所作。此时正是王翚艺术生涯最为活跃成熟的时期。他以五代时期童源、巨然的笔调写群山叠嶂之景，复以北宋燕文贵笔意写秦淮河两岸的江村景物，历时三月方才完成。</p><p class="ql-block">刘靖基捐赠。</p><p class="ql-block">Rivers among Layered Peaks</p><p class="ql-block">Wang Hui （1632-1717）</p><p class="ql-block">Qing （1641-1911）</p><p class="ql-block">In the 23d year (1684) of the Kangxi reign, the then 53-year-old Wang Hui was invited by his friend Wu Kaizhi to spend the summer in Nanjing. It is believed that Wang Hui painted this work for the two brothers Wu Zhengzhi and Wu Kaizhi. This was Wang Jian's most active and mature period in his art career. He painted layers of mountains with the style of Dong Yuan and Ju Ran, two Five Dynasties period painters. He used the brushstroke method of Yan Wengui from the Northern Song dynasty to depict the view and villages along the river. The artist took three months to accomplish this painting.</p><p class="ql-block">Gift of Liu Jingji</p> <p class="ql-block">海上书画馆</p> <p class="ql-block">前言</p><p class="ql-block">Introduction</p><p class="ql-block">上海博物馆于2021年成功举办了“万年长春：上海历代书画艺术特展”，其与“丹青宝筏：董其昌书画艺术大展”（2018）、“吴湖帆书画鉴藏特展”（2015）共同构成了上博书画专题研究系列之“海上三部曲”。</p><p class="ql-block">“海上书画馆”围绕“何以海派”进行上海书画溯源，旨在通过挖掘馆藏所蕴含的江南文化、海派文化、红色文化特质，藉“海上三部曲”特展之学术成果，尤在其中“万年长春：上海历代书画艺术特展”的学术架构上进一步延展，探究海上千年书画发展过程中所呈现的“底蕴深厚、艺脉醇正、兼融并蓄、勇于创新”的艺术特色和人文精神，更有助于理解上海这座国际化大都市的城市精神脉络与传统人文底色，以及“开放、包容、创新”的城市精神品格。</p><p class="ql-block">上海是太湖流域暨江南文化重镇之一，如今又是长江三角洲一体化发展的核心地，其于文化上的地位尤显重要。且一部中国书画史，亦是诸地域美术史的汇合。欲理解、领悟文人书画史脉络及其美学意蕴，探讨海上千年书画史是题中应有之义。在此通过“艺脉/艺术成就”“人文/地区互动”“鉴藏/艺术影响”“潮头/海上风华”四个面向，梳理、研究海上千年书画成就，考察其美术史地位与影响。藉此，期望建立海上千年书画学术研究高地，共同推动中国美术史研究的深入发展。</p><p class="ql-block">"An Everlasting Spring: The Art of Painting and Calligraphy in Shanghai" (2021), "The Ferryman of Ink World: Dong Qichang's Calligraphy and Painting Art" (2018), and</p><p class="ql-block">"Collection and Connoisseurship of Painting and Calligraphy of Wu Hufan" (2015) constitute a trilogy that unravels the Shanghai Museum's research on painting and calligraphy of Shanghai.</p><p class="ql-block">The Shanghai Painting and Calligraphy Gallery revolves around the theme "The Making of Shanghai-style Culture" to trace the origin of painting and calligraphy in Shanghai. It aims to shed light on the Jiangnan Culture, Shanghai-style Culture, and Red Culture embodied in the artworks in the Museum's collection. Building upon the scholarship of the trilogy, this gallery extends the framework and content of the exhibition "An Everlasting Spring" and further explores the artistic features and the cultural spirit characterized by "the profound heritage, the longstanding tradition, the inclusiveness, and the innovative spirit" manifested throughout the millennium-old development of the painting and calligraphy in Shanghai. The artworks displayed here also provide insights to the urban spirit and cultural tradition that embraces openness, diversity, and creativity of this international metropolis.</p><p class="ql-block">Shanghai is one of the major cultural centres of the Lake Tai area and the Jiangnan region. As an important city in the integrated development of the Yangtze River Delta, Shanghai is crucial in cultural developments. The history of Chinese calligraphy and painting is a confluence of regional art histories. To study the historical context and aesthetic implications of literati calligraphy and painting, it is essential to explore the millennium-long history of Shanghai's calligraphy and painting. This gallery showcases the achievements and influence of the painting and calligraphy in Shanghai through four sections: "Tradition | The Artistic Accomplishments",</p><p class="ql-block">"Culture | The Regional Interactions", "Collection | The Artistic Influence", and "Innovation | The Shanghai Charm." The presentation in this gallery aims to further explore the history of Shanghai painting and calligraphy and to contribute to the study on Chinese art history.</p> <p class="ql-block">壹·艺脉/艺术成就</p><p class="ql-block">Tradition·The Artistic Accomplishments</p><p class="ql-block">唐宋时代经济的发展，促进了文艺的空前繁荣，中国画各科亦相继形成与成熟，登上了画史古典主义艺术的高峰。宋元以降，文人画渐为主流，其发展从初创、确立至别开生面，期间真正起到引领意义的人物并不多。其中董其昌以一己之力影响身后近四百年，倘若加上董氏之外的海上千年书画成就，则一部文人画史，可谓半部与上海相关。海上千年书画之艺脉与成就。几乎伴随着文人画史的各个重要阶段，如“法帖之祖”- 《平复帖》、拈出“墨戏说”文人画理论的米芾、元代上海文人画成就、明初云间书派与上海“吴门前渊”，以及古代画史最后一个高峰-海上画派，乃至近现代如黄宾虹、李叔同、陆俨少等名家之成就。就上海画史个案贡献论，包括艺术创作、地区流派、画学理论、书画鉴藏、中西交汇和美术教育诸方面、皆不乏开风气之人物，可谓群星璀璨。</p> <p class="ql-block">清 沈源 《冰嬉图卷》</p><p class="ql-block">沈源，字恰亭，上海人。雍乾年间官廷画家。工山水、界画，擅绘罗汉。“冰嬉”在乾隆朝被称为“国俗”。其奉敕于乾隆十一年（1746）绘制的《冰嬉图》描绘了八旗兵士在北海冰面上脚穿冰鞋比赛的场景，画面恢弘生动，亦具有珍贵的史料价值。</p><p class="ql-block">Ice-skating</p><p class="ql-block">Shen Yuan</p><p class="ql-block">Handscroll</p><p class="ql-block">Qing （1644-1911）</p><p class="ql-block">Shen Yuan, also known by his zi (designated name) Qiating, was native to Shanghai. A court painter from the Yongzheng to Qianlong reign, he was adept in painting landscape and jiehua (architecture painting), especially skilled in painting arhat. "Bing xi (ice skating)" was regarded as a national tradition during the Qianlong reign. This painting commissioned by the court in the 11th year (1746) of the Kangxi reign depicts the soldiers participating in an ice-skating competition on the iced Beihai Lake. This vivid painting provides precious historical evidence.</p> <p class="ql-block">清 任熊 《范湖草堂图卷》</p><p class="ql-block">任熊（1823-1857），字滑长，号湘浦，萧山（今浙江杭州）人。自幼习画，寓居苏州、上海鬻画为生。为上海画派“海上四任”“沪上三熊”之一。图绘晚清著名词人、画家周闲的别业，近三年绘成，构图饱满，笔墨细密，色彩热烈，既写实又富于装饰趣味。</p><p class="ql-block">Fanhu's Cottage</p><p class="ql-block">Ren Xiong （1823-1857）</p><p class="ql-block">Handscroll</p><p class="ql-block">Qing （1644-1911）</p><p class="ql-block">Ren Xiong (1823-1857), with zi (designated name) Weichang and hao (literary name) Xiangpu, was a native of Xiaoshan (nowadays Hangzhou, Zhejiang province). He began studying painting at a young age and later lived in Suzhou and Shanghai, making a living by selling his art. Ren was one of the "Four Rens of Shanghai" and one of the "Three Xiongs of Shanghai" in the Shanghai School of painting. This painting depicts the estate of the renowned late Qing poet and painter Zhou Xian. It took nearly three years to complete, featuring a composition that is both rich and intricate. The brushwork is meticulous, with vibrant colors, blending realism with a decorative flair.</p> <p class="ql-block">贰·人文/地区互动</p><p class="ql-block">Culture/The Regional Interactions</p><p class="ql-block">整个元代，进入了真正确立文人画自身辉煌价值的鼎盛期。地处太湖流域，风上宣人、水陆便利的重镇——上海，于元末成為文人画创作的中心地带，所取得的成就奠定了本土书画的格局，更对其后的持续发展及画史地位的不断攀升，起到了举足轻重的作用。其间发生的大规模聚“天下士”之人文迁徒，是继三国东吴后的盛况再现。从元代《淀湖送别图》至明代《曲水园图》，形象地勾画了元明以来上海城市人文的迁移路线图，这恰与明初以降上海地理生态环境，尤其是以黄浦江为主的水系变迁几乎同步。本板块作品不仅体现了上海的自然风光语言饮食、人文构成等风土人情，亦反映了明清以来江南文化的两个重镇———上海与苏州，随着经济地位等综合因素的变迁，于书画领域发生了既共生一体又此消彼长的互动关系。</p> <p class="ql-block">明 董其昌 《秋兴八景图册》</p><p class="ql-block">董其昌（1555-1636），字玄宰，号思白，华亭（今上海松江）人，官至南京礼部尚书，谥文敏。以禅论画，分为“南北宗”，推崇“南宗”为文人画正脉。作画师古人而自出机杼，此册如是。图作于一六二〇年秋，时董氏舟行苏州、镇江一带。</p><p class="ql-block">刘靖基捐赠。</p><p class="ql-block">Eight Views in Autumn</p><p class="ql-block">Dong Qichang (1555-1636)</p><p class="ql-block">Album leaves</p><p class="ql-block">Ming (1368-1644), dated 1620</p><p class="ql-block">Dong Qichang (1555-1636), also known by his zi (designated name) Xuanzai and his hao (literary name) Sibai, was native to Huating (nowadays Songjiang district in Shanghai). He was once appointed as the Nanjing Minister of Rites when Nanjing was the secondary capital of the Ming court, and obtained the honorary posthumous title "Wenmin." He appropriated the Zen Buddhism theory into painting theory. Thus, he divided painting into the Northern School and the Southern School. He advocated the Southern School as the orthodox of literati painting. He incorporated the styles from ancient masters and developed his own style, which is testified in this album. Dong Qichang painted this painting in the autumn of 1620 when he was travelling in Suzhou and Zhenjiang on a boat.</p><p class="ql-block">Gift of Liu Jingji</p> <p class="ql-block">叁·鉴藏 / 艺术影响</p><p class="ql-block">Collection / The Artistic Influence</p><p class="ql-block">继承与创新是中国书画史得以持续发展的不二法门。作为接过“吴门画派”画学旗帜并得以超越，乃至引领后世四百余年吗史的“丹青宝筏”——董其昌——而言，这不仅仅展示了其于艺术史上勇立潮头的创新精神。若考察古代上海艺术家赖以孕育、生长的艺术土壤，他们亦离不开对古代艺术传统的接续与集成，而其中的书画鉴藏文化无疑不可或缺。在此梳理元末至清末民初近七百年间，上海书画鉴藏的四个主要阶段，即“肇兴”（元末明初），“四分天下”（明代中叶）“高峰”（明末清初）及“半壁江山”（清未民初）。同时，亦对包括上海历代书画家所取得的艺术成就在内，呈现两者对其他地区艺术活动的影响。</p> <p class="ql-block">明 文嘉 《曲水园图卷》</p><p class="ql-block">文嘉（1499-1582），字休承，号文水，长洲（今江苏苏州）人。善书画，文徵明仲子。图为董其昌族伯董宜阳“黄浦之上别业”曲水园（今上海闵行古藤园）所作，反映了苏、松两地人文互动，亦是明初以降上海城市人文向黄浦江两岸迁徙的实证。</p><p class="ql-block">The Garden of the Winding Stream</p><p class="ql-block">Wen Jia (1499-1582)</p><p class="ql-block">Handscroll</p><p class="ql-block">Ming （1368-1644）</p><p class="ql-block">Wen Jia (1499-1582), also known by his zi (designated name) Xiuchen and his hao (literary name) Wenshui, was native to Changzhou (nowadays Suzhou, Jiangsu province). Skilled in painting and calligraphy, he was the second son of Wen Zhengming. The painting depicts the Winding Stream Garden (gu shui yuan) of Dong Yiyang, an uncle of Dong Qichang. The garden was called "the Grand Mansion by the Huangpu River," located in the nowadays Guteng Park in Minhang district in Shanghai. The painting reflects the cultural interaction between Suzhou and Songjiang, as well as the migration of the cultural center to the banks of Huangpu River in Shanghai since the beginning of the Ming dynasty.</p> <p class="ql-block">肆·潮头/海上风华</p><p class="ql-block">Innovation ／The Shanghai Charm</p><p class="ql-block">在中国近代美术史上，上海美术具有举足轻重的地位。其主要继承江南文人书画的传统余绪，并开启20世纪中国现代美术的新格局，是中国古代书画向现代美术转型的重要一环。</p><p class="ql-block">从1843年上海开埠后逐渐发展壮大的海上画派，到二十世纪初以上海为中心的洋画运动，再到三、四十年代蓬勃发展的革命美术抗战美术，上海美术始终在全国美术界起着引领的作用。开埠以后的百年间，上海成为东亚地区第一大都市。现代上海美术的发展历程与这座城市的历文变迁血脉相连、息息相关。从某种意义上说，现代上海美术果的繁荣景象是海派文化的体现和缩影，其焕发出开放创新、包容的精神，成为上海城市品格的重要内涵。</p><p class="ql-block">Art in Shanghai plays an important role in the modern Chinese</p> <p class="ql-block">【海上画派】</p><p class="ql-block">“海上画派”有狭义和广义之分。狭义的指十九世纪中叶至二十世纪初期，活跃于上海地区以卖画为生的画家群体。广义的则是指继承“海上画派”文脉与精神，以上海为主要创作和活动区域的画家群体。</p><p class="ql-block">1843 年，鸦片战争失败，上海成为最早开放的通商口岸之一。张鸣珂《寒松阁谈艺琐录》称：“自海禁一开，贸易之盛，无过上海一隅，而以砚田为生者，亦皆于于而来，侨居卖画。”上海本地及江浙等邻近省市的金石书画家，领风气之先，纷纷聚集到上海城内，做起了鬻艺的职业艺术家。</p><p class="ql-block">随着沪上书画市场的蓬勃发展，各种名目的书画社团纷纷组建，上海这片神奇的土地孕育了众多的海上书画名家，如“三熊”（朱熊、张熊、任熊）、“四任”（任熊、任薰、任颐、任预）、虛谷、吴昌硕等。他们发展了“扬州画派”世俗化的倾向，在不断适应上海新型都市审美的过程中，创作出雅俗共赏的艺术佳作，开海上画坛新风尚，影响遍布全国，远播海外。</p> <p class="ql-block">现代 林风眠 《持镜仕女图》</p><p class="ql-block">林风眠（1900 1991），初字凤鸣，广东梅县人。上海黄浦江码头是他留学法国的起讫地。曾任国立艺术院（今中国美术学院前身）院长、上海中国画院画师等，居沪二十七年。一生致力于探素“中西融合”的艺术道路，此作即为一例。</p><p class="ql-block">Lady with a Mirror</p><p class="ql-block">Lin Fengmian (1900-1991)</p><p class="ql-block">Color and ink on paper</p><p class="ql-block">Modern</p><p class="ql-block">Lin Fengmian (1900-1991), initially named Fengming, was a native of Mei county in Guangdong province. The docks of the Huangpu River in Shanghai marked both the starting and ending points of his studies in France. He worked as the president of the National Academy of Art (now the China Academy of Art) and later as a painter at the Shanghai Chinese Painting Academy, residing in Shanghai for 27 years.</p><p class="ql-block">Throughout his life, Lin was dedicated to exploring the integration of Chinese and Western art, and this painting serves as an example of this approach.</p> <p class="ql-block">现代 张大千《荷花图轴》</p><p class="ql-block">张大千（1899-1983），名爱，号大千，以号行，室名大风堂等，四川内江人。图作于1947年春，张氏业已自敦煌临摹归来，从莫高窟唐代壁画中汲取养分，画风为之一变。此图以勾填法绘成，金地衬托朱荷绿叶，富丽堂皇，是他中年法古变今之作。同年夏，将其赠予亦擅画荷的泸上鉴藏家吴湖帆。</p><p class="ql-block">Lotus</p><p class="ql-block">Zhang Daqian（1899-1983）</p><p class="ql-block">Hanging scroll</p><p class="ql-block">Modern, dated 1947</p><p class="ql-block">Zhang Daqian (1899-1983), whose given name was Yuan and who went by his hao (literary name) Daqian, was a native of Neijiang in Sichuan province. This painting was completed in the spring of 1947, after Zhang had returned from his joumey to Dunhuang, where he had extensively studied and copied the lang dynasty murals of the Mogao Caves. His exposure to these ancient works profoundly influenced his style, leading to significant artistic transformation. This piece, executed using the outline and color-filling technique on a gold background that forms a contrast with the red lotuses and green leaves, exudes a sense of grandeur and elegance. It represents his mid-career synthesis of classical and contemporary elements.</p><p class="ql-block">In the summer of the same year, Zhang gifted this painting to the Shanghai connoisseur Wu Hufan, who was also known for painting lotus.</p> <p class="ql-block">陈逸飞《唯新兴的无产者才有将来》</p> <p class="ql-block">上海画八景之六-石库门</p>