<p class="ql-block">书法馆</p><p class="ql-block">The Calligraphy Gallery</p> <p class="ql-block">中国历代书法</p><p class="ql-block">Chinese Calligraphy</p> <p class="ql-block">种蕉厅 Banana Grove Hall</p><p class="ql-block">上博书画馆八景之一</p><p class="ql-block">1/8 Scenes of the Museum's Calligraphy and Painting Galleries</p><p class="ql-block">“种蕉学书”，典出唐陆羽《僧怀素传》“贫无纸可书，尝于故里种芭蕉万余株，以供挥洒”。系书史励志佳话。“蕉石”出自唐孙位《高逸图》经典画意,以金属幔幕工艺、油画、雕塑、LED 屏再创。场景以怀素《苦笋帖》、仓颉“观象造字”、王维“雪中芭蕉”和张乖崖“水滴石穿”为典，塑之以形，辅以东汉蔡邕《熹平石经》展品为照壁，组合成景。以蕉之具象、抽象与意象，虚实互生,呈现中国画工笔、写意之衍变，体现国人对翰墨的独特理解与解构自然之精微精神。</p> <p class="ql-block">书画馆八景</p><p class="ql-block">中国历代文人雅士题名景观,形成了中国特有的山水园林景观文化。</p><p class="ql-block">本书画馆以中国古代文化为陈列布展理念，既完整表达文物的艺术信息，又在展示方式上进行创新，以传统书画文化为本，汲取园林造景元素和工艺,注入江南文化、海派文化精髓,使观赏空间多维度地强化书画平面二维的表现力。</p><p class="ql-block">小品景观的视觉造型,均源自馆藏书画中一树一花,一山一水,假以成景，试图成为溢出画作的自然和人文，消弥人与物的物理空间。</p><p class="ql-block">本中国历代书画展览，按书法馆、绘画馆、海上书画馆三大展陈空间动线顺序而置种蕉厅、五合廊、六法亭、双清桥、与可道、石库门、海派书房、画禅室，是为“书画馆八景”。</p><p class="ql-block">The Eight Scenes of the Shanghai Museum's Calligraphy and Painting Galleries </p><p class="ql-block">The tradition of designating scenes by Chinese literati throughout history has played a crucial role in shaping the unique culture of Chinese landscape and gardens.</p><p class="ql-block">The design of the three galleries, grounded in the cultural essence of ancient China, not only conveys the artistic legacy of historical artifacts but also brings innovation to its display methods. Rooted in the traditions of Chinese calligraphy and painting. it draws inspiration from garden design and craftsmanship, infusing the spirit of jiangnan and Shanghai-style Culture. The exhibition space is designed to enhance the expressiveness of the two-dimensional calligraphy and painting through transforming it to a multidimensional experience.</p><p class="ql-block">The visual desicn of the small scenic landscapes is in spired by elements such as trees, flowers, mountains, and rivers from the Museum's collection of paintings and calligraphies. These are arranged into scenes that at tempt to extend the natural and cultural essence beyond the artworks, dissolving the physical boundary between the viewer and the objects.</p><p class="ql-block">This display of Chinese calligraphy and painting is organized into three main exhibition spaces: the Caligraphy Gallery, the Painting Gallery, and the Shanghai Painting and Calligraphy Gallery. Along the exhibition routine eight scenes have been arranged: Banana Grove Hall, Wuhe Corridor, Liufa Pavilion, Shuangqing Bridge, Yuke's Path, Shikumen, Haipai Study, and Painting and Zen Studio. Together, they form the 'Eight Scenes' of the Calligraphy and Painting Galleries.</p> <p class="ql-block"><br></p><p class="ql-block">前言</p><p class="ql-block">汉字是依象形、指事、形声等法则构成的单体语言符号。书法,依托于具有抽象构成性质的汉字,在长期的社会应用中,书家在汉字不同结体的基础上,用毛笔书写出具有丰富运动节奏感的点、线,赋予其艺术生命力。</p><p class="ql-block">商代至魏晋南北朝,文字经历了篆、隶、草、楷、行的字体演变,形成多形态的汉字体系。各种字体又因不同时期、不同地域和不同应用范围,衍生出纷繁多姿的变体和别体。</p><p class="ql-block">商周时期的甲骨文和金文已步入审美意识萌芽阶段。汉魏之际,书法的审美意识由自发至自觉。两晋及隋唐,草书和楷书趋于成熟。这一时期,名家辈出,书法理论的探究同步得到发展，日益精微。</p><p class="ql-block">宋、元、明书家以晋唐法度为契机,不断拓展新技法和新意境,将自我审美意识与技法融会于结体与点画之中,涌现出风格各异的艺术流派。</p><p class="ql-block">清代文士留心于金石考据之学，注重商周金文、秦汉碑刻、六朝墓志等文字遗存,发挥艺术想象力及创造热情,熔铸新风,出现了帖学到碑学的转变,开辟出刚健浑厚的新风。近现代书家碑帖交融，进一步拓展了风格的包容性,个性表现更为鲜明。</p> <p class="ql-block"><br></p><p class="ql-block">先秦与秦汉书法</p><p class="ql-block">Pre-Qin, Qin,and Han Dynasties</p><p class="ql-block">(before 220)</p><p class="ql-block">商周与秦汉是中国文字书法孕育与发展的时期。甲骨文是契刻于龟甲兽骨上的文字,其内容为商王室的占卜记录,书风浑朴,已初具书法意趣。商周青铜器铸刻文字用以记名与事。西周金文端整雄浑,春秋战国时期则因诸侯割据而分化出了明显的地域特色。</p><p class="ql-block">秦始皇统一六国后,实行“书同文”政策，以小篆作为官方文字,同时隶书渐趋流行。</p><p class="ql-block">两汉是隶书的成熟时期。西汉中后期隶书渐趋定型,用笔由圆转方,讲究起讫波挑。存世汉隶多见于简牍及东汉时期的碑刻,其中东汉铭刻书体最能体现两汉隶书的成熟形态。此期,草书、楷书、行书亦相继出现,至汉末文字体式的演变已基本结束。</p><p class="ql-block">The Shang and Zhou dynasties, along with the Qin and Han dynasties, were the formative eras for the development of Chinese characters and calligraphy. The oracle bone script, Inscribed on turtle shells and animal bones, contains records of the Shang royal family's divinations and exhibits an early calligraphic appeal</p><p class="ql-block">Many of the Shang and Zhou bronze vessels were cast with symbols or names of clans or inscriptions to record events. The Western Zhou bronze inscriptions are characterized by their dignified and vigorous style, while the Spring and Autumn and Warring States perlods saw the emergence of distinct regional styles.</p><p class="ql-block">When Qin Shi Huang (the First Emperor of Qin) conquered the six rival states and established a unified empire, he implemented the policy of "unification of scripts and characters" and used the small seal script as the universal writing . The clerical script started to gain popularity, The clerical script matured in the Han dynasty. In the mid-to-late Western Han</p><p class="ql-block">dynasty, the clerical script eventually took form. The Eastern Han inscription is the most representative example of the matured Han dynasty clerical . During this period. various script styles, such as cursive script, regular scrlpt, and running script emerged one after another. The evolution of scripts was largely complete.</p><p class="ql-block"> </p> <p class="ql-block"><br></p><p class="ql-block">铸禾牛胛骨刻辞</p><p class="ql-block">商祖庚时期（公元前12世纪）</p> <p class="ql-block"><br></p><p class="ql-block">祭祀牛胛骨书辞（毛笔墨书）</p><p class="ql-block">商康丁时期（公元前12世纪）</p> <p class="ql-block"><br></p><p class="ql-block">召卣</p><p class="ql-block">西周昭王时期（公元前十一世纪下半叶）</p> <p class="ql-block"><br></p><p class="ql-block">免簋铭文</p><p class="ql-block">西周中期（公元前11世纪末-前10世纪末）</p> <p class="ql-block"><br></p><p class="ql-block">齐太宰归父盘铭文</p><p class="ql-block">春秋中期（公元前7世纪上半叶-前6世纪上半叶）</p> <p class="ql-block"><br></p><p class="ql-block">始皇诏方升</p><p class="ql-block">秦始皇二十六年（公元前221年）</p> <p class="ql-block"><br></p><p class="ql-block">居延木简（谷物支出记录）</p><p class="ql-block">汉（公元前202年-220年）</p><p class="ql-block">张珩捐赠</p> <p class="ql-block"><br></p><p class="ql-block">君有远行连弧纹镜</p><p class="ql-block">西汉（公元前202-8年）</p> <p class="ql-block"><br></p><p class="ql-block">西周 篆书 毛公鼎全形拓轴</p><p class="ql-block">毛公鼎为西周晚期青铜器珍品，现藏于台北故宫博物院。此轴为清代拓本。</p> <p class="ql-block"><br></p><p class="ql-block">秦 篆书 琅琊台刻石轴</p><p class="ql-block">《琅琊台刻石》传为李斯所书，原在山东诸城琅琊台。久损。今残存秦二世元年（前209年）。古厚苍深，为秦篆极则。此系清嘉庆间拓本。</p> <p class="ql-block"><br></p><p class="ql-block">春秋 篆书石鼓文页</p><p class="ql-block">石鼓文是先秦时期著名的石刻文字之一，记载了春秋时期秦公游猎之事。因分刻于十个鼓状石之上，又名“石鼓文”。此为明代拓本。</p> <p class="ql-block"><br></p><p class="ql-block">西汉隶书五凤刻石册</p><p class="ql-block">《五凤刻石》又称《鲁孝王泮池刻石》,刻</p><p class="ql-block">于西汉五凤二年(前56)，金代时出土于鲁灵光殿遗址，后移至曲阜孔庙。简质古朴，有篆书笔意，为篆隶递变时期古隶代表。此本经清翁方纲、钱泳递藏,系明末清初拓本。</p> <p class="ql-block"><br></p><p class="ql-block">东汉 隶书乙瑛碑册</p><p class="ql-block">《乙瑛碑》又名《汉鲁相乙瑛置百石卒</p><p class="ql-block">史碑》,东汉永兴元年(153)刻于山东曲阜。</p><p class="ql-block">记鲁相乙瑛奏请为孔庙置守庙者事。雄古</p><p class="ql-block">超逸,为汉隶成熟期代表性碑刻。本册“辟”</p><p class="ql-block">字尚见“辛”部，当明末拓本。</p> <p class="ql-block"><br></p><p class="ql-block">熹平石经周易残石</p><p class="ql-block">东汉（公元25-220年）</p> <p class="ql-block"><br></p><p class="ql-block">石婉墓志铭</p><p class="ql-block">北魏永平元年(508)</p><p class="ql-block">Epigraph of Shi Wan</p><p class="ql-block">Stone</p><p class="ql-block">The first year (508) of the Yongping era,</p><p class="ql-block">Northerm Wei(386-534)</p> <p class="ql-block"><br></p><p class="ql-block">晋唐书法</p><p class="ql-block">Jin and Tang Dynasties </p><p class="ql-block">(220-979)</p><p class="ql-block">魏晋时期,书法出现以流派和风格发展的趋势。涌现了一批成就突出的书家,三国曹魏的钟繇以楷书名世,被奉为“正书之祖”。东晋王羲之、王献之父子变革旧体,开创史称“二王”的书体新风。南朝书风延续东晋新体，北朝流行北碑书体，楷隶杂糅，古拙峻拔。</p><p class="ql-block">隋代书法主要承接六朝，逐步融会南北,楷书脱去隶书笔意，馆藏《董美人墓志》与《常丑奴墓志》是其中代表。唐代书法注重法度，尤以楷书为最，初期以欧阳询、虞世南、褚遂良和薛稷为典范,其后则有颜真卿与柳公权。行书入碑始于唐代,李邕、张从申引风气之先。草书以“二王”为基础,发展出了以张旭、怀素为代表的“狂草”书体。</p> <p class="ql-block"><br></p><p class="ql-block">东晋 王羲之 草书袁生帖页</p><p class="ql-block">王羲之(303一361)，字逸少，琅琊临沂</p><p class="ql-block">人，后移居绍兴。官右军将军，人称“王右</p><p class="ql-block">军”。其书博采众长，创立行、草新风。此系其致袁宏等人书札,选自宋拓修内司本《淳化阁帖》中,用笔婀娜婉转,欹侧多姿，神采朗秀。</p><p class="ql-block">Yuan Sheng Tie (Letters to Friends)</p><p class="ql-block">Wang Xizhi(303-361)</p><p class="ql-block">Cursive script</p><p class="ql-block">Album leaf</p><p class="ql-block">Eastern Jin (317-420)</p><p class="ql-block">Wang Xizhi (303-361), also known by his zi (designated name) Yishao, was a native of Linyi in Langya. He later moved to Shaoxing. Serving as the General of Youjun, Wang was also</p><p class="ql-block">called “Wang Youjun." Wang Xizhi absorbed the expertise of many master calligraphers and had a profound learning of various scripts of calligraphy. He pioneered new trends in running and cursive scripts. This leaf is Wang Xizhi’s letters to Yuan Hong and some other friends, collected in the Song dynasty album of calligraphy rubbings Chun Hua Ge Tie (The Compendia of Selected Calligraphy Works from the Imperial Archives of the Chunhua Reign). This work features characters executed in an elegant variety of slanted forms with graceful and fluid brushstrokes, exuding a radiant and refined appeal.</p> <p class="ql-block"><br></p><p class="ql-block">唐 楷书 大般涅经第九卷</p><p class="ql-block">敦煌写经，出土于莫高窟藏经室中，其</p><p class="ql-block">中包含了由晋至宋万卷文献。此系唐人书</p><p class="ql-block">北凉僧昙无谶所译《大般涅经》卷九，写</p><p class="ql-block">于硬黄蜡笺，用笔沉厚坚挺、整齐华美，类似褚遂良书法风格,属盛唐写经精品。</p><p class="ql-block">Mahayana Mahaparinirvana Sutra, Volume X</p><p class="ql-block">Regular script</p><p class="ql-block">Handscroll</p><p class="ql-block">Tang (618-907)</p><p class="ql-block">This is a written sutra found in the Library Cave in Mogao Caves, which housed tens of thousands of documents dated from Jin (266-420) to Song (960-1279) dynasties. This is the ninth volume of Mahayana Mahaparinirvana Sitra translated by the Northen Liang (397460) Buddhist monk Dharmaksema and written by a Tang dynasty calligrapher on a piece of yellow-dyed paper coated with wax. This scroll features thick and firm brushstrokes composed with orderly elegance, exhibiting a style similar to Chu Suiliang's. This is an excellent work of written sutra of the Tang dynasty.</p> <p class="ql-block"><br></p><p class="ql-block">唐 虞世南 行书汝南公主墓志铭卷</p><p class="ql-block">虞世南(558一638)，字伯施，浙江余姚</p><p class="ql-block">人。官秘书少监，封永兴县公。擅书，师智永,为“初唐四家”之一。此系其为唐太宗第三女所作墓志，用笔虚和散淡。书于贞观十年(636)，作者时年七十九岁。亦有“米临”之说。</p><p class="ql-block">Epigraph of the Princess Runan</p><p class="ql-block">Yu Shinan (558-638)</p><p class="ql-block">Running script</p><p class="ql-block">Handscroll</p><p class="ql-block">Tang (618-907)</p><p class="ql-block">Yu Shinan (558-638), also known by his zi (designated name) Boshi, was native to Yuyao, Zhejiang province. He served as the assistant director of Archive and Library in the court and was conferred the rank “Duke of Yongxing county." A student of Zhiyong and adept in calligraphy, Yu was praised as one of the “Four Masters of Early Tang." This is the epigraph for the third daughter of Emperor Taizong of Tang. The brushstrokes are light and loose. He wrote the epigraph in the tenth year (636) of the Zhenguan era at the age of 79. There is also a speculation that this was a copy made by Mi Fu.</p>