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The Calligraphy and Painting Gallery of The Palace Museum - Part II (zweisprachig Chinesisch-Englisch)

ISBN: 978-7-80047-708-9, 9787800477089
[50.0354]
0


Titel: The Calligraphy and Painting Gallery of The Palace Museum - Part II (zweisprachig Chinesisch-Englisch) - 故宫书画馆 - 第二编 (第二版)(汉英双语)
Autor /Herausgeber: 杨丹霞 Yang Danxia (主编/Hsg./main editor)
ISBN: 978-7-80047-708-9, 9787800477089
Reihe: 故宫书画馆 The Calligraphy and Painting Gallery of The Palace Museum
Verlag: The Forbidden City Publishing House - 紫禁城出版社
Sprache: zweisprachig Chinesisch-Englisch
Erscheinungsdatum: 2008.07
Auflagennummer: 1
Seitenzahl: 219
Format: 28.8 x 22.2 x 3 cm
Bundart: Paperback


Beschreibung:

Preface

Chinese painting and calligraphy enjoy a long history. Both were derived from primitive symbols, nourished by Chinese civilization, executed with the same tools, i.e., brush pen, ink, paper, and inkstone, and both were created using lines and strokes as basic elements. Chinese painting and calligraphy both strive for brilliant brushwork and lyric aesthetics. Although they developed into two independent art forms - calligraphy emphasizing emotional release, and painting focusing on sketching likenesses - for millennia there was mutual interplay and development. Through constant interaction, the two art forms complemented and enhanced each other such that they were popularly employed in other traditional arts, and continued to thrive even today. With their long history, unique presentation and aesthetics, Chinese painting and calligraphy have played an indispensable role in the fine arts.
The Palace Museum's rich and comprehensive holdings of traditional Chinese calligraphy and paintings encompass not only extremely rare early masterpieces but also representative works from every historical period. These art works help in understanding the history of traditional Chinese calligraphy and painting. Here, the Palace Museum presents a selection of the finest works in order to introduce visitors to the classics, to share the sophistication of the works, and to reveal the profundity of Chinese culture.

From the Third Century to the Fourteenth Century

The Jin (265-420), Tang (618-907), Song (960-1279), and Yuan (1271-1368) dynasties constitute a vital period during which Chinese painting and calligraphy became established with their own masterpieces and time frames. The calligraphy practiced by the Jin dynasty master Wang Xizhi (ca. 303- ca. 361) greatly expanded the artistic possibilities of the emerging Chinese writing system, setting criterion for later calligraphic works. In the Jin dynasty, figure painting with Gu Kaizhi (ca. 345-406) as the leading painter also reached a high level. In the Sui and Tang dynasties painting continued to thrive with new categories such as landscape with buildings, equestrians, and quadrupeds. Famous works by Zhan Ziqian (581-618), Yan Liben (ca. 600-673), and Han Huang (723-787) among others reflect a splendid flourishing era. Structures of Chinese characters formed by Tang dynasty regular-script masters including Ouyang Xun (557-641), Yu Shinan (558-638), Chu Suiliang (596-659), Xue Ji (649-713), Yan Zhenqing (709-785), and Liu Gongquan (778-865) established standards for later generations that are still used today.
Painting matured in the Five Dynasties and the Song dynasty: masters of landscape, figure, and bird-and-flower paintings emerged. With consummate skill, they emphasized the fidelity to objects, developing a refined style. These developments were related to the establishment of the imperial painting academy, the policy of promoting and awarding talented painters, and the popular participation of the scholar-elite in art creation. Calligraphers of the Song and Yuan dynasties advocated distinctive personal styles to show literary cultivation within the norms of calligraphy. Calligraphy was infused with cultural messages beyond serving as a pragmatic system of writing. The notable figures were the "Four Masters of Song" (Su Shi [1037-1101], Huang Tingjian [1045-1105], Mi Fu [1052-1107], and Cai Xiang [1012-1067]), as well as Xianyu Shu (1246-1301), and Zhao Mengfu (1254-1322). In painting, the "Four Masters of Yuan" raised the visibility of "literati paintings", concerning themselves with truth to an essence other than the appearance of the object. They left room for further development in the Ming and the Qing.


The Ming Dynasty (1368-1644)

In the Ming dynasty Chinese painting and calligraphy blossomed. Inheriting the tradition of the Song dynasty (960-1279), painting and calligraphy achieved tremendous progress theoretically and technically. Many regions produced groups of artists with distinct idioms. The most notable Ming dynasty calligraphy was the cursive script by the "Three Songs" (Song Ke [1327-1387], Song Sui [1344-1380], and Song Guang [act. 14th c.]) and the "court style" regular script by "Two Shens" (Shen Du [1357-1434] and his brother Shen Can). Dominating the painting sphere were the unrestrained "Zhe School" and the "Academic style" led by Dai Jin (1388-1642) and Lin Liang (ca. 1436-1487). From the second half of the fifteenth century, Wumen (Suzhou, Jiangsu province) became the center for painting and calligraphy. Calligraphers such as Wu Kuan (1435-1504) and Wang Chong (1494-1533) escaped the restraint of the "court style" regular script. The "Four Masters of the Wu School" (Shen Zhou [1427-1509], Wen Zhengming [1470-1559], Tang Yin [1470-1524], and Qiu Ying [ca. 1505-1552]) replaced the "Academic style" with thin, delicate colored literati paintings. Chen Chun (1483-1544) and Xu Wei (1521-1593) enriched the brushwork with their innovative free-style bird-and-flower paintings. In the late Ming dynasty, Dong Qichang (1555-1636) developed theories of painting and calligraphy, exerting substantial influence during his lifetime and the succeeding Qing dynasty. Meanwhile, Zhao Zuo (d. after 1636) and Shen Shichong (act. early 17th c.) of the "Songjiang school", Lan Ying (1585-ca. 1666) and Chen Hongshou (1598-1652) based in Hangzhou, Zhejiang province, all demonstrated their distinct talents in painting, brightening the art of the turbulent late-Ming society.


The Qing Dynasty (1644-1911)

Qing dynasty paintings and calligraphy benefited from inheritance and innovation. In the seventeenth century, inheriting late Ming calligraphic styles, masters such as Wang Duo (1592-1652) and Fu Shan (1607-1684) as loyalists to the vanquished Ming dynasty released their cynical rage in monumental, strange, and unrestraint brush strokes. The clear and forceful works of the "Four Masters of the Kangxi reign" (Jiang Chenying [1628-1699], He Zhuo [1661-1722], Wang Shihong [1658-1723], and Chen Bangyan [1678-1752]) showed their debt to Dong Qichang. In painting, Wu Li (1632-1718), Yun Shouping (1633-1690), and the "Four Wangs" occupied the "orthodox" position by synthesizing the past and bringing painting techniques to the highest development. By contrast, a new "individual" style of landscape was pioneered by the "Four Monks" (Shitao [1642-1707], Zhu Da [1626-1705], Kuncan [1612-1673], and Hongren [1610-1663]), the "Jinling schoo" of Nanjing, and the “Huangshan School” of Anhui province.
Mid-Qing scholars embraced the idea of reviving the past to establish the new. The promotion of Jin and Tang rubbings by Liu Yong (1720-1804) and Weng Fanggang (1733-1818) elevated the study of epigraphy. By introducing clerical and seal scripts into calligraphy, Deng Yan (Deng Shiru, 1743-1805) and Yi Bingshou (1753-1815) initiated the study of stele inscriptions. At the court, Western painting techniques were adapted to vary pictorial expression. The emergence of the "Yangzhou School" revitalized painting. In the late Qing dynasty enthusiasm for transcribing and copying clerical and seal scripts from steles increased. Calligraphers He Shaoji (1799-1873), Zhao Zhiqian (1829-1884), and Wu Changshuo (1844-1927) were the most prominent. Works of the "Shanghai School" and the "Lingnan School" were appreciated by both educated and common folks for their lively reflection of the times and raised the curtain on modern painting.


内容简介

《故宫书画馆(第2编)(精装)》将分批展出历代书画家的精品佳作,以供广大观众研究、欣赏。故宫博物院收藏有丰富的中国古代书画。其中既有晋唐宋元的稀世孤本,也有明清各个画派名家的代表作品,可以清晰、系统地反映中国古代书法与绘画艺术发展的脉络。为了感受经典,分享中国书画艺术的美轮美奂,展示中华传统文化的博大精深。


目录

关于书画鉴定的几个问题(代序)
晋唐宋元书画
王羲之《雨后帖》页
阎立本《步辇图》卷
杜牧《张好好诗》卷
周文矩《韩滉文苑图》卷
顾闳中《韩熙载夜宴图》卷
黄筌《写生珍禽图》卷
崔白《寒雀图》卷
苏轼《新岁展庆、人来得书帖》合卷
薛绍彭《大年帖》页
赵孟頫《福神观记》卷
任仁发《张果见明皇图》卷
黄公望《九峰雪霁图》轴
王蒙《夏日山居图》轴

明代书画
宋璲《敬覆帖札》册页
沈度《四箴·唐诗》合卷
戴进《葵石蛱蝶图》轴
林良《灌木集禽图》卷
吕纪《桂菊山禽图》轴
吴伟《树下读书图》轴
沈周《乔木慈乌图》轴
祝允明《寿砺庵诗》轴
唐寅《幽人燕坐图》轴
文徵明《新秋诗》轴
文徵明《溪桥策杖图》轴
陈道复《山水图》轴
王宠《五言诗》轴
仇英《人物故事图》册
徐渭《水墨葡萄图》轴
董其昌《行书诗》轴
董其昌《高逸图》轴
赵左《山水图》轴
沈士充《寒塘渔艇图》轴
蓝瑛《白云红树图》轴
陈洪绶《杂画图》册
项圣谟《大树风号图》轴

清代书画
王铎《临帖》轴
王时敏《仙山楼阁图》轴
王鉴《山水图》轴
王翚《岩栖高士图》轴
吴历《柳村秋思图》轴
恽寿平《蓼汀鱼藻图》轴
王原祁《松溪仙馆图》轴
程邃《山水图》轴
傅山《七绝》轴
弘仁《幽亭秀木图》轴
朱耷《猫石图》卷
查士标《空山结屋图》轴
龚贤《云壑松荫图》轴
郑翚《七绝》轴
笪重光《五律诗》轴
禹之鼎《西郊寻梅图》轴
华凸《白描仕女图》轴
高凤翰《自画像》轴
李鲜《荷花图》轴
黄慎《伯乐相马图》轴
郑燮《竹石图》轴
冷枚《养正图》册
李世倬《指画岁朝图》轴
汪由敦《苏轼春帖子词》轴
袁耀《汉宫秋月图》轴
邓石如《荀子宥坐》轴
永理《陆机文赋》轴
伊秉绶《五言》联
张廷济《史颂鼎铭》轴
何绍基《七言》联
费丹旭《复庄忏绮图像》卷
赵之谦《菊石雁来红图》轴
任颐《公孙大娘舞剑图》轴
吴昌硕《紫藤图》轴


序言

中国书法与绘画艺术源远流长。它们同起源干原始符号,同在华夏文明的上壤中滋长,在发展中使用相同的笔墨纸砚,均以线条为基础造型手段,追求共同的笔墨技巧和抒情写意的审美意趣。虽然它们尔后成为两个独立的艺术门类,前者更侧重抒写性情,后者更强调传神写照,但二者数千年来始终相互借鉴,共同发展。书中有画,画中有书,相辅相成,相得益彰。也正因此,书画艺术在诸多中国传统艺术门类中,至今仍历久不衰,欣欣向荣。中国书法与绘画艺术以其悠久的历史、独特的表现方法和审美意趣,在世界美术之林中占有重要的地位。
故宫博物院收藏有丰富的中国古代书画。其中既有晋唐宋元的稀世孤本,也有明清各个画派名家的代表作品,可以清晰、系统地反映中国古代书法与绘画艺术发展的脉络。为了感受经典,分享中国书书画艺术的美轮美奂,展示中华传统文化的博大精深,我们将分批展出历代书画家的精品佳作,以供广大现众研究、欣赏。


文摘

晋唐宋元时期是中国书画艺术构建体系、创造经典的重要时期。晋代王羲之天才的创作实践大大提高了汉字新兴书体的艺术品位,成为后世书法审美的基准坐标。以顾恺之为代表的人物画创作也已达到很高的水平。隋唐画坛在人物画继续发展的同时,山水楼阁、鞍马走兽等画科也相继繁荣,阎立本、展子虔、韩熀等人的名作无不呈现一派恢弘富丽的盛世气象。唐代欧阳询、虞世南、褚遂良、薛稷、颜真卿、柳公权等楷书大家所确立的汉字结体用笔规范,影响深远,沿用至今。五代两宋绘画更趋成熟完备,山水、人物、花鸟名家辈出,风格崇尚写实,精能高雅。这与当时皇家设置画院、奖掖人才的措施以及文人士大夫阶层对艺术创作的广泛参与有很大关系。宋元的文人书家,强调在“守法”的前提下张扬个性,表现“书卷之气”,书法在实用的基础上被赋予更深厚的文化内涵,“宋四家”和鲜于枢、赵孟頫皆为代表人物。同样,“元四家”高张“文人画”旗帜,提倡抒写性情,不求形似,为明清绘画的发展开辟了广阔天地。

9787800477089

9787800477089

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