<p class="ql-block">前言</p><p class="ql-block">Introduetion</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">何以海派</p><p class="ql-block">The Making of The Shanghai School</p> <p class="ql-block">吴湖帆胸像</p><p class="ql-block">上海市历史博物馆藏</p> <p class="ql-block">上海地区历代书画人文示意图</p> <p class="ql-block"><br></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</p><p class="ql-block">是指继承“海上画派”文脉与精神，以上海</p><p class="ql-block">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</p><p class="ql-block">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，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)、虚谷、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"> </p> <p class="ql-block"><br></p><p class="ql-block">石库门</p><p class="ql-block">Shikumen</p><p class="ql-block">上博书画馆八景之六</p><p class="ql-block">6/8 Scenes of the Museum's Calligraphy and Painting Galleries</p><p class="ql-block">“石库门”是江南民居和西式联排住宅的改良风格，成为上海近代都市文明的象征。因其“门”由石条“箍(gu)”成，沪语“箍”和“库(ku)”发音近而称。此“石库门”受中共一大会址纪念馆形制启发，经二次创作与介质转换，呈现了从门套、门框到门楣的经典“门头”风貌,海派文化与红色文化兼备。</p><p class="ql-block">Shikumen, a distinctive architectural style blending traditional Jiangnan residential features with Western-style terraced houses, has become a symbol of modern urban civilization in Shanghai.The doorframe is made of stone blocks bound together, and in the Shanghai dialect,the pronunciation of 'gu’(箍，bind) is similar to 'ku'(库), thus the name “Shikumen" was derived.This particular "Shikumen" design was inspired by the architectural form of the Memorial of the First National Congress of the Communist Party of China and underwent reinterpretation and transformation to reflect the door frame, lintel, to the classic design of the Shikumen door. This work embodies both enduring influences of Shanghai-style Culture and its Red Culture.</p> <p class="ql-block"><br></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,其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"><br></p><p class="ql-block">五代 佚名 吴越王雷峰塔经卷</p><p class="ql-block">雷峰塔为五代吴越国王钱俶兴建的佛塔,遗址位于杭州西湖南岸。塔砖里有藏经砖，中有圆孔，内藏佛经。此为其中一卷，经文前有佛经故事扉画。纸坚墨旧,犹是整卷，为中国古代印刷早期实物见证，亦是吴越国文化的遗珍。</p><p class="ql-block">A sutra scroll deposited in Leifeng Pagoda</p><p class="ql-block">commissioned by the King of Wu-Yue State</p><p class="ql-block">Unknown artist</p><p class="ql-block">Regular script</p><p class="ql-block">Handscroll</p><p class="ql-block">Five Dynasties (907-960)</p><p class="ql-block">In the Five Dynasties period, Qian Chu, the King of Wu-Yue State,commissioned the building of Leifeng Pagoda. The site of the pagoda is located on the Southem bank of the West Lake. Among the bricks, some bricks with round hole in the middle hold the sutra scrolls. This is one of the scrolls found in the bricks. This sutra scroll starts on the night with a painting of a Buddhist story. This complete scroll testifics as a physical example of early Chinese printing as well as a treasure of the Wu-Yue State.</p> <p class="ql-block"><br></p><p class="ql-block">北宋 米芾 行书道祖帖卷</p><p class="ql-block">米芾 (1051一1107),字元章,号海岳外史等.祖居山西太原,定居江苏镇江。为书法“宋四家”之一。北宋海上贸易兴盛，华亭青龙镇(今上海青浦)设镇监,米芾为首任。此帖与苏轼《刘锡敕札)(摹本)合卷,原为《苏米翰札合册》四幅之一。上款“道祖”即薛绍彭，书家,与米芾世称“米薛”。</p><p class="ql-block">许允恭捐赠。</p><p class="ql-block">A Letter to Daozu</p><p class="ql-block">Mi Fu(1051-1107)</p><p class="ql-block">Running script</p><p class="ql-block">Handscroll</p><p class="ql-block">Northem Song(960-1127)</p><p class="ql-block">Mi Fu(1051-1107) was also knowa by his zi (designated name) Yuanzhang and hao (literary nuarne) Haiyue Waishi His ancestal home was in Taiyuan in the Shanxi province. Later, his famibly setted in Zhenjiang in Jiangsu province He was one of the "Tour Calligraphy Masters of the Song" Mi Fu was the first mmyor of Qinglong town in Huating (present day Oingpu district, Shanghal) atter this position was set up, This was oniginaly mounted together with Su Shi's ALeter to LiuXI as part of Four Works by Su Shi and Mi Fu. Daozu tefersto Xae Shaopeng a calligtapher who crnijoyed eqpual popularity with Mi Fu,as they were frequendly mentioned together as "Mi and Xue.'</p><p class="ql-block">Gift of Xu Yungong</p> <p class="ql-block"><br></p><p class="ql-block">元 曹知白 清凉晚翠图页</p><p class="ql-block">曹知白(1272一1355),字贞素,号云西,华亨(今上海青浦)人。家甚富,好收藏,喜交游,与倪瓒、顾瑛并称“江南三大名士”。曾为凿吴淞江献策。画山水承李郭派,一如是作。多与黄公望、倪瓒诗画相酬，晚年作品融合董巨风格。</p><p class="ql-block">Trees in Cool Dusk</p><p class="ql-block">Cao Zhibai(1272-1355)</p><p class="ql-block">Album leaf</p><p class="ql-block">Yuan(1271-1368)</p><p class="ql-block">Cao Zhibai(1272-1355),also known by his zi(designated name) Zhensu and his hao (literary name) Yunxi, was native to Hunting (nowadays Qingpu, Shanghai). Bom in a rich family, he liked collecting and making friends. Ni Zan, Gu Ying, and him were referred to as the "Three Famous Literati in Jiangnan." He once proposed ideas for digging the Wusong River. He learned his landscape painting style from Li Cheng and Guo Xi. Cao corresponded with Huang Gongwang and Ni Zan with poems and paintings. In his late years, he integrated the style of Dong Yuan and Ju Ran in his paintings.</p> <p class="ql-block"><br></p><p class="ql-block">元 孙作 隶书静学斋诗页</p><p class="ql-block">孙作(1320一1404后),字大雅,号东家子, 孙权四弟孙匡后裔,江阴人。元末避居松江(今属上海),明初官至国子司业。与陶宗仪、宋濠等交善，以文学名世,著《沧螺集》。其手迹极,此诗页为徐绩书斋而作，结体端方,笔力峭劲。</p><p class="ql-block">沈同樾、顾榴、顾佛、顾笃璋、顾笃球等捐赠。</p><p class="ql-block">Poem for the Jingxue Studio</p><p class="ql-block">Sun Zuo(1320-after 1404)</p><p class="ql-block">Clerical script</p><p class="ql-block">Album leaf</p><p class="ql-block">Yuan (1271-1368)</p><p class="ql-block">Sun Zuo (1320-after 1404),also known by his zi(designated name) Daya and his hao (literary name) Dongjizi, was native to Jangyin He was a descendent of Sun Kuang, the fourth brother of Sun Quan (182-252) He was the deputy director of Guosijian (govemmental higher education institution) at the beginning of the Ming dynasty. A friend of Tao Zongyi and Song Lian and a renowned wnter, he wrote Cangluo Ji. His calligraphy is extremely rare. Sun wrote this poem for Xu Jis study with upight structured chaacters and fim brushstrokes.</p><p class="ql-block">Gift of Shen Tongyue,Gu Liu,Gu Fo,Gu Duzhang,Gu Duqiu,et al</p> <p class="ql-block"><br></p><p class="ql-block">(传)元 温日观 葡萄图卷</p><p class="ql-block">温日观,字仲言，号日观,华亭(今上海松</p><p class="ql-block">江)人。宋末元初禅僧,晚居杭州玛瑙寺,法名子温。以草书法作墨葡萄名世，称“温葡萄”。沈周、文微明、陈淳、徐渭等皆习之，影响深远。是图率意写就，虽为明代仿本，但可一窥其典型面貌。</p><p class="ql-block">Grapes</p><p class="ql-block">Attributed to Wen Riguan</p><p class="ql-block">Handscroll</p><p class="ql-block">Yuan(1271-1368)</p><p class="ql-block">Wen Riguan, also known by his zi (designated name) Zhongyan and his hao (literary name) Riguan, was native to Huating (nowadays Songjiang, Shanghai). He became a monk during the late Yuan to the early Ming dynasty， In bis later years.he lived in Manao Temple in Hangzhou, with the Buddhist name Ziwen He was famous for painting ink grapes with the caligraphic method of cursive scripL Thus, be was also referred to as"Wen Putao” (grapes). He was deeply influenced by Shen Zhou, Wen Zhengming, Chen Chun, and Xu Wei. This painting was accomplished with a casual and expressive manner. Though it is a Ming dynasty copy, it still gives a hint of Wen's typical style.</p> <p class="ql-block"><br></p><p class="ql-block">明 沈度 隶书节录四留铭页</p><p class="ql-block">沈度(1357-1434)，字民则，号自乐,华亭(今上海松江)人。以擅书入翰林，官至翰林学士。成祖时，凡金版玉册，必命之书,成为明初书坛典范，称“台阁体”。与弟沈粲并称“云间二沈”,为“松江书派”重要代表,影响广泛。</p><p class="ql-block">Excerpt of Four Maxims on Non-exhaustion</p><p class="ql-block">ShenDu(1357-1434)</p><p class="ql-block">Clerical script</p><p class="ql-block">Album leaf</p><p class="ql-block">Ming(1368-1644)</p><p class="ql-block">Shen Du (1357-1434),also known by his zi(designated name) Minze and his hao literary name) Zile, was native to Huating (nowadays Songjiang district in Shanghai). He obtained the title of hanlin (the emperor's literary retinue) through his skilled calligrapby. He was appointed as a Hanlin Scholar, a fifth-ranking official in the Hanlin Academy (the imperial academy). During the reign of the Emperor Chengzu of the Ming, the emperor always appointed him to write the official documents or records. He and his brother Shen Can were reputed as "T wo Shens of Yunjian” and were regarded as influential calligraphers of the Songjiang School.</p> <p class="ql-block"><br></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。雍乾年间宫廷</p><p class="ql-block">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"><br></p><p class="ql-block">元 张远 潇湘八景图卷</p><p class="ql-block">张远(活动于14世纪),字梅岩,华亭(今上海松江)人。善山水、人物,宗法马远、夏圭。明代松江华亭(今上海奉贤)鉴藏家何良俊称:</p><p class="ql-block">“吾松善画者在胜国时莫过曹知白、张远、任仁发。此三人传派最正,可称名家。”本图系其传世孤本。</p><p class="ql-block">Eight Views of Xiaoxiang</p><p class="ql-block">Zhang Yuan (active in the 14h century)</p><p class="ql-block">Handscroll</p><p class="ql-block">Yuan(1271-1368)</p><p class="ql-block">Zhang Yuan (active in the 14h century), also known by his zi (designated name) Meiyan, was native to Huating (nowadays Songjiang District in Shanghai), Adept in painting landscape and figures, he learned his style from Ma Yuan and Xia Gui. The Ming dynasty connoisseur He Liangjun from Huating of Songjiang (nowadays Fengxian in Shanghai) remarked: “During the Yuan dynasty (when the country was ruled by the Mongols), no other painters are more skillful than Cao Zhibai. Zhang Yuan, and Ren Renfa. These three painters inherited the most essential spirit of painting, so that they can be regarded as masters."This is the only work by Zhuang Yuan remaining today.</p> <p class="ql-block"><br></p><p class="ql-block">海派书房</p><p class="ql-block">Haipai Study</p><p class="ql-block">上博书画馆八景之七</p><p class="ql-block">7/8 Scenes of the Museum's Calligraphy and</p><p class="ql-block">Painting Galleries</p><p class="ql-block">上海自1843年开埠后，中西文化交汇，形成了具有海派建筑特色的书房，系此期“文人空间”重要象征。“海派书房”以写实手法，呈现了百年前上海老洋房的风格。从柚木方格地板、竖式格子门、浅松绿色墙面、墙壁木饰护壁，到横式钢琴、立式衣帽架，以及室外花园，乃至窗户阳台上的茉莉花，具有浓郁的海派文化气息，是上海的城市会客厅。</p> <p class="ql-block"><br></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，风土宜人、水陆便利的重镇上海，于元末成为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”之人文迁徙，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一一上海与苏州，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"><br></p><p class="ql-block">元 李升 淀湖送别图卷</p><p class="ql-block">李升,字子云,号紫生,濠梁(今安徽凤阳)人。晚年居淀山湖畔(今上海青浦),筑有草堂。善写墨竹窠石，与柯九思齐名，兼工平远山水。此图是为高士蔡霞外赴任冲真观所作赠别诗画,亦是所见最早描绘青浦淀山湖的名画,可谓上海版“富春山居图”。</p><p class="ql-block">Seeing off a Friend by the Dian Lake</p><p class="ql-block">Li Sheng</p><p class="ql-block">Handscroll</p><p class="ql-block">Yuan(1271-1368)</p><p class="ql-block">Li Sheng,also known by his zi (designated name) Ziyun and his hao (literary name) Ziyunsheng, was native to Haoliang (nowadays Fengyang, Anhui province). In his later years, he lived in a simple house near Dianshan Lake (also called Dian Lake before, located in nowadays Qingpu district, Shanghai). He was adept in painting ink bamboo and rock, as well as landscape Li enjoyed equal popularity with Ke Jiusi. This is a farewell gift to the Daoist Cai Xin who was going to Chongzhen Temple. It is the eartiest painting known today that depicts the view of Dianshan Lake. It can be regarded as the Shanghai version of Dwelling in Fuchun Mountain.</p> <p class="ql-block"><br></p><p class="ql-block">明 张弼 草书论南北口音页</p><p class="ql-block">张弼(1425一1487),字汝弼,号东海，华亭(今上海奉贤)人。善草书，取法张旭、怀素。此页小字今草，夹杂行书，与其常见的狂草风格迥异。内容涉及音韵学，反映了明代中叶南北方语音的演变，对研究上海方言颇有价值。</p><p class="ql-block">On the Northern and Southern Dialects</p><p class="ql-block">Zhang Bi(1425-1487)</p><p class="ql-block">Cursive script</p><p class="ql-block">Album leaf</p><p class="ql-block">Ming(1368-1644)</p><p class="ql-block">Zhang Bi(1425-1487), also known by his zi (designated name) Rubi and his hao (iterary name) Donghai, was native to Huating (nowadays Fengxian district in Shanghai). Adept in cursive script, he learmed his style from Zhang Xu and Huaisu. These characters are mostly in cursive script, with a few characters in running script, which is different from his extremely expressive cursive script calligraphy. The content of the work is related to phonology, reflecting the evolution of the pronunciation in the northem and southem dialects. It is a valuable material for the research on Shanghai dialect.</p> <p class="ql-block"><br></p><p class="ql-block">明 徐光启 行书北耕录残稿</p><p class="ql-block">之论墨篇页</p><p class="ql-block">徐光启(1562-1633),字子先,号玄扈，上海人。明末著名学者，官至礼部尚书兼文渊阁大学士、内阁次辅。徐家汇因其得名。《北耕录》为其农书手稿之一，作于屯垦天津时期。残帙十开,此两页讨论徽墨、松墨异同，反映了两地造墨流派之交流。</p> <p class="ql-block"><br></p><p class="ql-block">明 朱稚征等 嘉定诸家书画合册</p><p class="ql-block">朱稚征,号三松,与祖父鹤、父缨并称嘉定(今属上海)竹刻“三朱”。善山水、竹石、</p><p class="ql-block">驴。图绘云山小景,笔墨淋漓率意，系其画</p><p class="ql-block">迹孤本。是册尚有“嘉定四先生”之程嘉燧、李流芳、娄坚等诗、书、画迹,反映了此地深厚的人文底蕴。</p><p class="ql-block">Painting and Calligraphy of Jiading Artists</p><p class="ql-block">Zhu Zhizheng et al.</p><p class="ql-block">Album leaves</p><p class="ql-block">Ming(1368-1644)</p><p class="ql-block">Zhu Zhizheng, also known by his hao (literary name) Sansong, was one of the "Three Zhus" of Jiading (nowadays Shanghai) in bamboo carving. The other two are his grandfather Zhu He and his father Zhu Ying. Zhu Zhizheng was skilled in painting landscape,bamboo, rock,and donkey. This painting depicts mountains in clouds with expressive brushstrokes. This is the only remaining painting of him. This album also includes works of the “Four Gentlemen of Jiading”,namely Cheng Jiasui, Li Liufang, Lou Jian, which reflects the deeply rooted literary tradition of this region.</p> <p class="ql-block"><br></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 Jha (1499-1582),also known by his zi(designated name)Xiuchen and his hao (rteriry name) Wenshui, was native to Changzhou (nowadays Suchou, Jangsu povince), Shiled in painting and calligrapty, he was the second son of Wen Zhengming The painting depicts the Winding Stream Garden (qu shi yuam) of Dong Yiyang,an uncle of Dong Qichang. The garden was called "the Grand Mansion by the Huangpu Rrver," Iocated in the nowadays Guteng Park in Minhamg district in Shanghai. The painting reflects the cultural interaction between Suzhou and Songjiang, as well as the migration of the cultual center to the hanks of Huangpu River in Shanghai since the beginning of the Ming dynasty.</p> <p class="ql-block"><br></p><p class="ql-block">明 沈韶 张子游小像卷</p><p class="ql-block">沈韶(1605-1681后),字尔调,浙江嘉兴人，侨居华亭(今上海金山、奉贤一带)。与像主张远(字子游)同师曾鲸,以“墨骨”写真,皆为“波臣派”佼佼者。图由华亭沈白题画名。沈韶另有《嘉定三先生像》传世,其对松江肖像画家影响深远,如徐璋等。</p><p class="ql-block">Portrait of Zhang Ziyou</p><p class="ql-block">Shen Shao(1605-after 1681)</p><p class="ql-block">Handscroll</p><p class="ql-block">Ming(1368-1644)</p><p class="ql-block">Shen Shao(1605-after 1681), also known by his zi(designated name) Erdiao, was native to Jiaxing of Zhejiang province and lived in Huating (nowadays near Jinshan and Fengxian in Shanghai) Shen Shao and the man in this portrait, Zhang Yuan (zi Ziyou), were both students of Zeng Jing. Portraying figures with the method of ink bone," they were both outstanding painters of the Bochen School. Shen Bai of Huating wrote the title for the painting Another painting of Shen Shao named Three Gentlemen of Jiading deeply influenced the portrait painters in Songjiang including Xu Zhang.</p> <p class="ql-block"><br></p><p class="ql-block">明 杜琼 南村别墅图册</p><p class="ql-block">杜琼(1396一1474)，字用嘉，号东原，吴县(今江苏苏州)人。元季名士陶宗仪居松江泗泾讲学，隐于南村草堂。其故后数载，杜琼作是图以追念恩师陶氏。册中董其昌首提“吴门画派”之概念,梳理其画史脉络,并指出陶氏系其“岷源”。</p><p class="ql-block">沈同樾、顾榴、顾佛、顾笃璋、顾笃球等捐赠。</p><p class="ql-block">Cottage in the South Village</p><p class="ql-block">Du Qiong(1396-1474)</p><p class="ql-block">Album leaves</p><p class="ql-block">Ming(1368-1644)</p><p class="ql-block">Du Qiong (1396-1474), also known by his zi (designated name) Yongjia and his hao (iterary name) Dongyuan, was native to Wu County (nowadays Suzhou, Jiangsu province). At the end of the Yuan dynasty, the renowned scholar Tao Zongyi taught in Sijing in Songjiang and lived in a humble cottage in the South Village. Several years after Tao's death, Du Qiong painted this painting in memory of his teacher Tao Zongyi. In the inscription by Dong Qichang on this painting, he coined the tem “Wu School Painting” for the first time, contextualize his painting in the art history, and pointed out that Tao was the “origin."</p><p class="ql-block">Gift of Shen Tongyue, Gu Liu, Gu Fo,Gu Duzhang, Gu Duqiu,et al.</p> <p class="ql-block"><br></p><p class="ql-block">明 马愈 畿甸观风图卷</p><p class="ql-block">马愈，字抑之，号痴痴道人，嘉定(今属上海)人。宫廷画家马轼之子。天顺八年(1464)进士，官刑部主事。晚年居苏州，与沈周祖孙三世皆有交往。卷为时任“江南四府”苏松常镇之监察御史王𣿰而作。笔墨俨整，风格开沈周面目之先，为“吴门画派”先驱之一。</p><p class="ql-block">The Suburban View of the Wu Area</p><p class="ql-block">Ma Yu</p><p class="ql-block">Handscroll</p><p class="ql-block">Ming(1368-1644)</p><p class="ql-block">Ma Yu, also known by his zi (designated name) Yizhi and his hao literary name) Chichi Daoren, was native to Jiading(nowadays Shanghai). He was the son of the court painter Ma Shi. Ajinshi (a successful candidate of imperial civil-examination) in the 8th year (1464) of the Tianshun reign, he was an official in the Department of Punishments. He lived in Suzhou in his late years and was a friend of Shen Zhou and his family. This painting was painted for Wang Jun, the Govemmental Supervisor of Suzhou, Songjiang, Changzhou, and Zhenjiang. Ma Yu's meticulous and restrained ink brushstrokes is a precursor to Shen Zhou's style. He was a pioneer of the Wu School.</p> <p class="ql-block"><br></p><p class="ql-block">明 潘恩 行书赠冯子潜六十寿诗页</p><p class="ql-block">潘恩(1496一1582),字子仁,号笠江，上海人。嘉靖二年(1523)进士,累官至左都御史。潘氏时为显望世家。子允端为其筑豫园。冯子潜，即冯邃，松江府人。此诗页为贺冯邃寿辰而作，称颂其诗名远播及结社唱和的风雅生活。</p> <p class="ql-block"><br></p><p class="ql-block">明 潘允端 玉华堂日记</p><p class="ql-block">潘允端(1526一1601),字仲履,号充庵,上海人。嘉靖四十一年(1562)进士,官至四川右布政史。筑豫园，时与王世贞的弇园并称“东南名园冠”。玉华堂为豫园宴客要所。日记共八册，稿本，记1586至1601年间燕居生活。其中不乏收蓄法书名画事，亦可一窥明后期江南社会风貌及士绅阶层的地区人文互动。</p> <p class="ql-block"><br></p><p class="ql-block">清 张一鹄 赠王士禛山水图卷</p><p class="ql-block">张一鹄,字友鸿,一字忍斋,华亭(今上海金山)人。工诗画.顺治十五年(1658)进士，授云南推官，有善政。图系康熙元年(1662)谪归途经镇江时，为同年王士禛所作。其山水既有如是图之松江派面貌,亦有浙派风格作品传世。</p> <p class="ql-block"><br></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</p><p class="ql-block">(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O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 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 Southem School. He advocated the Southen 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"><br></p><p class="ql-block">清 任熊 范湖草堂图卷</p><p class="ql-block">任熊(1823-1857),字渭长,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"><br></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画史的“丹青宝筏”一-董其昌一而言，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”(清末民初)。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"><br></p><p class="ql-block">元 赵孟頫 行书止斋记卷</p><p class="ql-block">赵孟頫（1254-1322)，字子昂，号松雪道</p><p class="ql-block">人，吴兴(今浙江湖州)人。是卷大字行楷，刚健流逸，为其晚年书风转变之初的典型。卷为止斋主人书，撰文者段从周。清初经金山（今属上海)人王鸿绪(1645一1723)收藏，后归上海徐紫珊。</p><p class="ql-block">Zhizhai Ji(For the Zhizhai Study)</p><p class="ql-block">Zhao Mengfu(1254-1322)</p><p class="ql-block">Running script</p><p class="ql-block">Yuan(1271-1368)</p><p class="ql-block">Zhao Mengfu (1254-1322), also known by his zi (designated name) Zi'ang and his hao (literary name) Songxue Daoren, was a native of Wuxing (present-day Huzhou, Zhejiang province). This scroll, written in large running script, demonstrates a robust and fluid style. representing a typical example of the early transformation in Zhao's calligraphy during his later years. The scroll was written for the Master of Zhizhai Studio, with the text authored by Duan Congzhou. In the early Qing dynasty, it was part of the collection of Wang Hongxu(1645-1723), a native of Jinshan (now part of Shanghai). It later came into the collection of Xu Zishan of Shanghai.</p> <p class="ql-block">上海历代书画鉴藏家列举</p> <p class="ql-block">上海历代书画学著述例举</p> <p class="ql-block">展厅滚动播放资料片</p> <p class="ql-block"><br></p><p class="ql-block">元 杨维祯、王逢、钱惟善等 题南宋赵葵杜甫诗意图卷</p><p class="ql-block">本图为南宋宗室画家赵葵(1186-1266)所作,元末流传于吴淞地区,经杨维祯、王逢、钱惟善等题。元季东南兵乱,杨维祯、钱惟善等一众士人避居松江。王逢先后迁居青龙镇、横泖、乌泥泾等地(在今上海青浦、松江、徐汇区)。</p> <p class="ql-block"><br></p><p class="ql-block">南宋 张孝祥 行书泾川帖页</p><p class="ql-block">张孝祥(1132-1169),字安国,号于湖,乌江</p><p class="ql-block">(今安徽和县)人。状元及第，善诗文、书法，尤工词，为豪放派词人。本札系华亭何良俊旧珍。何氏富藏书画，其以“行家画、利家画”为线索的画史观，于晚明“南北宗”画论形成之际,可谓具先声夺人之功。</p> <p class="ql-block"><br></p><p class="ql-block">明 陆深 行书收藏书画稿本册</p><p class="ql-block">陆深(1477一1544),字子渊,号俨山.上海(今浦东陆家嘴)人。是册残本,记录其于三个月内收蓄法书名画89件之事。明中叶上海地区的鉴藏活动,主要围绕“顾陆张何”为代表的望族展开，其收藏版图,较元末扩展至黄浦江两岸。</p> <p class="ql-block"><br></p><p class="ql-block">明 文从简 临宋人人马图卷</p><p class="ql-block">文从简(1574-1648),字彦可,号枕烟老人，长洲(今江苏苏州)人。文微明曾孙，文嘉之孙。善山水、花鸟、人马，能传家法，风格筒淡。卷后另纸行书录颜延之《赭白马赋》。图经金望乔、吴湖帆、钱镜塘三位沪上鉴藏家收藏。</p> <p class="ql-block"><br></p><p class="ql-block">清 叶欣 山水图册</p><p class="ql-block">叶欣,字荣木,华亭(今属上海)人。活动于顺、康年间、流寓金陵(今江苏南京)，为“金陵八家”之一。其山水以工细幽淡见称，丰富了金陵画坛之面貌。此册多绘春夏之景，意境澹远清逸。册经沪上实业家王秋湄收藏。</p> <p class="ql-block"><br></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史变迁血脉相连、息息相关。从某种意义上说,现代上海美术界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"><br></p><p class="ql-block">现代 关良 鲁智深图轴</p><p class="ql-block">关良(1900-1986)，别名良公。番禺(今广东广州)人，寓居上海。赴日习油画，归国任教于上海美专等校。后转绘水墨戏曲人物,别开生面。画家题写郭沫若为其《鲁智深醉打山门图》题句,与画面相映成趣。上款“胜平”为张苏平（1913-1987)。</p><p class="ql-block">苏秋捐赠。</p><p class="ql-block">Lu Zhishen</p><p class="ql-block">Guan Liang(1900-1986)</p><p class="ql-block">Hanging scroll</p><p class="ql-block">Moderm</p><p class="ql-block">Guan Liang (1900-1986),also known as Guan Lianggong was a native of Panyu (nowadays Guangzhou, Guangdong province) who resided in Shanghai. He studied oil painting in Japan and, upon returming to China, taught at institutions such as the Shanghai Art Academy. Later in his career, he shifted to ink painting, focusing on figures ftrom traditional Chinese drama, creating a unique and innovative style. The artist inserbed a line frorn Guo Moruo. Guo had witten this Iime for Guan's painting Lu Zhishen Drunkenly Beating the Temple Gate, which also responds to the subject of this painting The dedication on this paimting is addressed to “Suping.”referring to Zhang Suping (1913-1987)</p><p class="ql-block">Gift of Su Qiu</p> <p class="ql-block"><br></p><p class="ql-block">现代 陈逸飞 唯新兴的无产者才有将来</p><p class="ql-block">布面油画</p><p class="ql-block">上海鲁迅纪念馆藏</p><p class="ql-block">陈逸飞(1946-2005)，生于浙江宁波，著名</p><p class="ql-block">油画家。毕业于上海市美术专科学校，后进入上海画院油画雕塑创作室，任油画组负责人。此画是1972年为上海鲁迅纪念馆而作，画题出自鲁迅《二心集》序言，描绘了鲁迅学习经典理论的场景。</p><p class="ql-block">The Future Belongs to the Rising Proletariat</p><p class="ql-block">Chen Yifei(1946-2005)</p><p class="ql-block">Oil on canvas</p><p class="ql-block">Modern,dated 1972</p><p class="ql-block">Collection of Shanghai Luxun Museum</p><p class="ql-block">Chen Yifei(1946-2005),born in Ningbo in Zhejiang province, was a renowned oil painter, He graduated from the Shanghai Art School and later joined the Shanghai Painting Academy, where he became the head of the oil painting department This painting, created in 1972 for the Shanghai Luxun Muscum, is based on the preface of Lu Xun's Erxinji (Essays of Two Minds), depicting Luaun studying classical thcory.</p> <p class="ql-block"><br></p><p class="ql-block">现代 潘天寿 烟雨两部图轴</p><p class="ql-block">潘天寿(1897-1971)，原名天授，字大颐，号阿寿，浙江宁海人。曾在上海美专等校任教,后任国立艺术院(今中国美术学院前身)院长。画得吴昌硕赏识及指授,在接续大写意传统的基础上变革中国画。图为指画，巨石方硬，蟾蜍灵动,构图新奇,具现代感。</p><p class="ql-block">Two Toads in the Drizzle</p><p class="ql-block">Pan Tianshou(1897-1971)</p><p class="ql-block">Hanging scroll</p><p class="ql-block">Moderm</p><p class="ql-block">Pan Tianshou(1897-1971),originally named Tianshou with a different character for “shou, is also known by his zi (designated name) Dayi and his hao (literary name) Ashou, native to Ninghai, Zhejiang province. Pan taught at institutions like Shanghai Art Academy, and later became the director of State Art Academy (nowadays China Art Academy). He obtained recognition and instructions from Wu Changshuo. He further developed the Chinese painting based on the boldly expressive style (da xieyi). He painted this painting with finger. The rocks are depicted with strong lines to show its texture, as the toads are painted with dynamism, which makes the composition creative and moderm.</p> <p class="ql-block"><br></p><p class="ql-block">现代 黄宾虹 山水图轴</p><p class="ql-block">黄宾虹(1865一1955),字朴存，号宾虹。安徽歙县人，寓沪二十八年，曾任教于上海美专等校。作画在精研传统笔墨的基础上开辟创新。此图当为黄氏于故宫博物院鉴画期间受宋元名画启发而作，浑厚华滋，属“黑宾虹”风格之杰作。</p><p class="ql-block">Landscape</p><p class="ql-block">Huang Binhong(1865-1955)</p><p class="ql-block">Hanging scroll</p><p class="ql-block">Modern</p><p class="ql-block">Huang Binhong (1865-1955), with his zi(designated namc) Pucun and hao (literary name) Binhong, was a native of She county in Anhui province.He resided in Shanghai for 28 years and thought at institutions such as the Shanghai Art Academy.</p><p class="ql-block">Building on a deep understanding of traditional brush and ink techniques, Huang pioncered innovations in Chinese painting. </p><p class="ql-block">This particular work was likely inspired by his study of Song and Yuan masterpieces during his time at the Palace Museum. The painting, characterized by its dense and rich composition, represents a prime example of Huang's mature “Black Binhong" styie.</p> <p class="ql-block"><br></p><p class="ql-block">现代 张大千 荷花图轴</p><p class="ql-block">张大千(1899一1983),名爰,号大千,以号行，</p><p class="ql-block">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沪上鉴藏家吴湖帆。</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 returmed fom his joumey to Dunhuang, where he had extensively studied and copied the Tang 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</p><p class="ql-block">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"><br></p><p class="ql-block">现代 徐悲鸿 康有为像</p><p class="ql-block">布面油画</p><p class="ql-block">徐悲鸿(1895一1953)，原名寿康，江苏宜兴人，曾任中央美术学院院长。留法前于上海拜康有为为师。此画作于1926年自巴黎返沪探亲时。期间应康氏邀请赴文艺界宴会，出示己作，康氏评其画“独步中国,无与为偶”。</p><p class="ql-block">康保莊、康保娥捐赠。</p><p class="ql-block">Portrait of Kang Youwei</p><p class="ql-block">Xu Beihong(1895-1953)</p><p class="ql-block">Oil on canvas</p><p class="ql-block">Modern. dated 1926</p><p class="ql-block">Xu Beihong (1895-1953), originally named Shoukang, was a native of Yixing. Jiangsu, and served as the president of the Central Academy of Fine Arts. Before studying in France, Xu studied under Kang Youwei in Shanghai. This painting was created during Xu's 1926 visit toShanghai after returning from Paris to visit his family.During this time, Xu attended a banquet hosted by the literary and artistic community at Kang's invitation, where he showcased his work. Kang highly praised Xu's paintings, stating that Xu, as a painter, "stands unrivaled in China, with no equal".</p><p class="ql-block">Gift of Kang Baozhuang and Kang Bao'e</p> <p class="ql-block"><br></p><p class="ql-block">现代 陈抱一自画像</p><p class="ql-block">木板油画</p><p class="ql-block">陈抱一(1893一1945)，原籍广东，生于上海。早年在上海于布景画传习所习画，后赴日留学，归沪后在上海艺专等校教授油画。此像作于画家晚年,即1943年,其中可见印象派和新写实主义的影响,笔触自然，色彩明快，风格典雅优美。</p><p class="ql-block">陈绿妮捐赠。</p><p class="ql-block">A Self-portrait</p><p class="ql-block">Chen Baoyi(1893-1945)</p><p class="ql-block">Oil on board</p><p class="ql-block">Modern,dated 1943</p><p class="ql-block">Chen Baoyi(1893-1945),originally from Guangdong,was born in Shanghai In his early years, he studied painting at the Scenic Painting Training Institute in Shanghai and later went to Japan for further studies, Afer returning to Shanghai, he taught oil painting at institutions such as the Shanghai Art Academy. This portrait was created in the later years of the artist's life, around 1943. The work shows influences from both Impressionism and Chinese New Realism, with natural brushstrokes,vibrant colors, and a graceful style.</p><p class="ql-block">Gift of Chen Luni</p> <p class="ql-block"><br></p><p class="ql-block">现代 李叔同 楷书勇猛精进页</p><p class="ql-block">李叔同(1880-1942)，字息霜，祖籍浙江</p><p class="ql-block">平湖，生于天津。1898年，戊戌变法失败，避祸上海。曾留学日本。其于文艺造诣颇深，书法尤是。此页笔力劲健，书风凝重，是1918年冬为夏丐尊作。李氏于此年秋在杭州剃度为僧，法名演音,号弘一,世称“弘一法师”。</p><p class="ql-block">夏弘宁捐赠。</p><p class="ql-block">Yong Meng Jing Jin (Being Bold and Diligent)</p><p class="ql-block">Li Shutong(1880-1942)</p><p class="ql-block">Regular script</p><p class="ql-block">Modern, dated 1918</p><p class="ql-block">Li Shutong (1880-1942), with zi (designated name) Xishuang, had an ancestral home in Pinghu in Zhejiang province,but he was born in</p><p class="ql-block">Tianjin. In 1898, after the failure of the Hundred Days’ Reform, he sought refuge in Shanghai and later studied abroad in Japan Li was a</p><p class="ql-block">man of profound artistic talent, particularly noted for his calligraphy. This piece, marked by its firm strokes and solemn style, was created in the winter of 1918 for Xia Mianzun. In the autumn of that year,Li became a Buddhist monk in Hangzhou, taking the name Yanyin and the monastic name Hongyi. He is widely revered as Master Hongyi."</p><p class="ql-block">Gift of Xia Hongning</p> <p class="ql-block"><br></p><p class="ql-block">现代 顾炳鑫 版画阿Q正传插图</p><p class="ql-block">顾炳鑫(1923-2001)，宝山顾村(今属上</p><p class="ql-block">海)人。擅长漫画、版画、连环画。曾任上海大学美术学院国画系主任。此作共八张，上海博物馆藏其四，1959年由上海人民美术出版社出版。图以高超的造型艺术描绘出鲁迅笔下的经典形象,为其套色木刻代表作。</p><p class="ql-block">Illustrations of The True Story of Ah Q</p><p class="ql-block">Gu Bingxin(1923-2001)</p><p class="ql-block">Woodblock print on paper</p><p class="ql-block">Modern</p><p class="ql-block">Gu Bingxin (1923-2001), a native of Gucun in Baoshan, Shanghai, was skilled in caricatures, woodblock prints, and illustrations. He once served as the head of the Chinese Painting Department at the School of Fine Arts of the Shanghai University.</p><p class="ql-block">This particular work consists of eight illustrations,four of which are housed in the Shanghai Museum. Published in 1959 by the Shanghai People's Fine Arts Publishing House, the series showcases the artist's exceptional talent for capturing the features of the classic characters from Lu Xun's writings and are considered representative examples of his colored woodblock print illustrations.</p> <p class="ql-block"><br></p><p class="ql-block">20世纪 泰戈尔(印度)</p><p class="ql-block">赠徐志摩夫妇山水并陆小曼题合页</p><p class="ql-block">泰戈尔(1861一1941)于1924年、1929年</p><p class="ql-block">3月和9月三次到访上海，与徐志摩、陆小曼夫妇结下了深厚友谊。此图简绘一小山，是泰戈尔在两人家中初次试用毛笔时所作，并赠其留念。</p><p class="ql-block">陆小曼题称“一九二七年”到访，应误。</p><p class="ql-block">陆小曼捐赠。</p><p class="ql-block">Landscape sketch for Xu Zhimo and Lu Xiaoman</p><p class="ql-block">with Lu's Inscription</p><p class="ql-block">Rabindranath Tagore(1861-1941,India)</p><p class="ql-block">Ink on paper</p><p class="ql-block">20th century</p><p class="ql-block">RabindranathTagore (1861-194l) visited Shanghai three times, in March and September of 1924 and again in 1929. During these visits,</p><p class="ql-block">he developed a deep fiendship with the couple Xu Zhimo and Lu Xiaoman. Tagore drew this casual sketch of mountain during his first atempt to use a Chinese brush at their home, where he left the sketch as a memento for the couple. Lu Xiaoman inscrbed the painting mistakenly noting that the visit took place in 1927. It should have been during one of his earier visits.</p><p class="ql-block">Gift of Lu Xiaoman</p> <p class="ql-block"><br></p><p class="ql-block">现代 张隆基 女配电工</p><p class="ql-block">布面油画</p><p class="ql-block">张隆基(1929一2007),浙江嵊县人,历任</p><p class="ql-block">上海美专等校教师、上海油画雕塑院画家，也是油画理论家。图绘一青年女工忘我工作的场景，反映了人民大众的现实生活和投身祖国生产建设的热情。此画作于1959年，并参加了该年全国美展。</p><p class="ql-block">A Female Electrician</p><p class="ql-block">Zhang Longji(1929-2007)</p><p class="ql-block">Oil on canvas</p><p class="ql-block">Modern,dated 1959</p><p class="ql-block">Zhang Longi(1929-2007),a native of Sheng county in Zhejiang province, served as a teacher at institutions such as the Shanghai Art Academy and as a painter at the Shanghai Oil Painting and Sculpture Institute. He was also an influential oil painting thcorist This painting,created in 1959, portrays a youmg female worker focusing on her work, reflecting the dedication of ordinary people to the development of People's Republic of China. The picce captures the enthusiasm and energy of the era and was featured in the National Art Exhibition that same year.</p> <p class="ql-block"><br></p><p class="ql-block">现代 颜文樑 黄浦江夜航图</p><p class="ql-block">木板油画</p><p class="ql-block">颜文樑（1893一1988)，江苏苏州人。早</p><p class="ql-block">年在上海学油画，后留学法国,是苏州美术专科学校创办人之一和校长。此图在写实基础上加入印象派光影表现技法,描绘了鳞云皓月的黄浦江夜色。该作为油画,但仍以中国画方式落款并钤印。</p> <p class="ql-block"><br></p><p class="ql-block">现代 林风眠 持镜仕女图</p><p class="ql-block">林风眠(1900一1991),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</p><p class="ql-block">前身)院长、上海中国画院画师等，居沪二十七年。一生致力于探索“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 Arty and later as a painter at the Shanghai Chinese Painting Academy, residing in Shanghai for 27 years 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"><br></p><p class="ql-block">19世纪(传)安格尔(法国)</p><p class="ql-block">素描人物画稿页</p><p class="ql-block">铅笔</p><p class="ql-block">安格尔(1780-1867)，法国新古典主义画</p><p class="ql-block">家。图由徐悲鸿等鉴为真迹。正面“a Rome”，应为受安格尔影响的十九世纪法国画家所署。背面“Ingresa Rome”，应系画商所添。该作是中国近现代鉴藏家试图收藏欧洲大师原作的早期见证。</p> <p class="ql-block"><br></p><p class="ql-block">画禅室</p><p class="ql-block">上博书画馆八景之八</p><p class="ql-block">“画禅室”是晚明上海（华亭）董其昌的斋号，也是其当年书画鉴赏、创作、撰写画理之所。“画禅”二字，融汇了其“以禅喻画”的画学思想。匾额“画禅室”及楹联“宇宙在乎手，万化生乎身”皆为馆藏董书集字而成。乾隆皇帝于咸福宫后殿西室辟“画禅室”以示推崇，董氏及其画禅室更是上海江南文化中的重要文化象征。</p> <p class="ql-block"><br></p><p class="ql-block">禅家有南北二宗，唐时始分。画之南北二宗，亦唐时分也。但其人非南北耳。北宗则李思训父子着色山水，流传而为宋之赵幹、赵伯驹、伯啸，以至马、夏辈。南宗则王摩诘始用渲淡，一变勾斫之法，其传为张璪、荆、关、董、巨、郭忠恕、米家父子。至元之四大家如六祖之后有马驹、云门、临济、儿孙之盛，而北宗微矣！要之摩诘所“云峰石迹，迥出天机，笔意纵横，参乎造化”者。东坡赞吴道子、王维画壁，亦云：“吾于维也无间然。”知言哉！</p><p class="ql-block">明. 董其昌《画禅室随笔》</p> <p class="ql-block">以下由“豆包”提供：</p><p class="ql-block">董其昌的《画禅室随笔》，阐述了其著名的“南北宗论”，以下是相关解析：</p><p class="ql-block">核心观点</p><p class="ql-block">• 绘画流派划分：董其昌以禅宗南北宗之分比附绘画流派，将唐至元代的山水画分为南北二宗。北宗以李思训父子的着色山水为开端，经赵干、赵伯驹、赵伯骕，到马远、夏圭等；南宗以王维始用渲淡，变革勾斫之法为发端，传承者有张璪、荆浩、关仝、董源、巨然、郭忠恕、米家父子，直至元四家。</p><p class="ql-block">• 绘画风格特点：北宗绘画多为着色山水，注重写实，笔法刚硬，常以斧劈皴等表现，风格严谨；南宗绘画善用渲淡之法，追求笔墨情趣，强调意境，笔法柔和，以披麻皴等为主，风格自然、淡泊。</p><p class="ql-block">• 崇南贬北倾向：董其昌认为南宗是文人之画，如同禅宗六祖慧能之后的马祖道一、云门、临济等儿孙繁盛，是“顿悟”的表现，有天趣，推崇王维的“云峰石迹，迥出天机，笔意纵横，参乎造化”；而北宗是行家画，从“渐积”而来，如李思训父子着色山水，功夫虽深但缺乏天趣，至元代时北宗已式微。</p><p class="ql-block">理论来源</p><p class="ql-block">董其昌的这一理论受禅宗思想影响颇深。唐宋以来，禅宗风靡，士大夫“人人谈禅”。董其昌以禅论画，将禅宗的“顿悟”与“渐修”观念引入绘画理论，认为南宗绘画如同禅宗南派的“顿悟”，强调灵感和天赋；北宗绘画则似禅宗北派的“渐修”，依靠苦练和积累。</p><p class="ql-block">后世影响</p><p class="ql-block">这一理论对明末及清代的绘画发展影响深远。清初“四王”等画家是其理论的实践者，他们遵循南宗脉络，使文人画成为画坛正统。然而，该理论也存在局限性，受到后世一些学者的批评，如认为其流派区分简单生硬、王维地位被人为抬高、概念含混、标准不一等。</p>