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首届国际博物馆馆长论坛特别展 借古开今——江苏省美术馆藏明清绘画展


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  Special Exhibition for the First International Museum Directors’ Forum 

  Inheritance & Innovation

  ——Collection of Paintings from Ming to Qing Dynasties at Jiangsu Art Museum




  Sponsor:Jiangsu Provincial Art Gallery

  Dates of Exihibit:May 22 to June 10,2018









  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