春末夏初,武英殿展出了书画部同仁所策划的小规模晒家底性质的展览:“新理异态——明末清初五家书画特展”。这一展览基于院藏特点,根据明末清初时期极具特征的美学风格与史学定位,选择了张瑞图、黄道周、倪元璐、王铎、傅山这五位代表性书画家,共展出105件文物,包括书法54件,绘画14件,碑帖10册,古籍27册。这样规格的五家同展,也算得上—场视觉文化盛宴,为艺术史、社会史等专业领域的研究者,提供了直观的实物氛围与研究场景,具有颇为可贵的学术价值。书画部同仁撰写的展览前言,提到了本次展题的内涵:“……晚明的朝廷空前昏暗,社会剧烈动荡,最终导致了政权鼎革。五位书法家‘人品’不一,却均未能逃脱时代给他们造成的身世坎坷与心灵创痛。这种坎坷与创痛反映到 At the end of spring and early summer, Wu Yingdian exhibited a small-scale exhibition of sun-dried properties planned by his colleagues at the Calligraphy and Painting Department: ”Neo-Confucianism - Five Paintings and Calligraphies in the Late Ming and Early Qing Dynasties.“ Based on the characteristics of the courtyard house and based on the highly distinctive aesthetic style and historical orientation of the late Ming and early Qing dynasties, the exhibition selected five representative calligraphers including Zhang Ruitu, Zhaodao Zhou, Ni Yuanlu, Wang Duo and Fu Shan for a total of 105 A collection of artifacts, including calligraphy 54, 14 paintings, rubbings 10 books, 27 books. The five exhibitions of such specifications are also worthy of - the visual and cultural feast of field, which provides an intuitive physical atmosphere and research scene for researchers in the fields of art history and social history, and has quite valuable academic value. The foreword of the exhibition written by my colleagues in the Department of Painting and Calligraphy referred to the connotation of this exhibition: ”... the court of late Ming dimming was unprecedentedly dulled and the society was in turmoil, eventually leading to the reform of the regime. The five calligraphers’ They all failed to escape the frustrations and psychic pains caused by the age to them.This ups and downs and pain were reflected