论文部分内容阅读
5月11日下午，浙江省博物馆武林分馆吸引了来自两岸三地的众多媒体记者。他们共同见证了激动人心的历史时刻：分藏在海峡两岸的《富春山居图》迈开了“圆合”的第一步。
《富春山居图》是“元四家”之首黄公望的代表作。以浙江富春江为背景，全图用墨淡雅，山和水的布置疏密得当，墨色浓淡干湿并用，极富于变化，被称为中国十大传世名画之一。清顺治七年（1650），此画为藏家吴洪裕所有。吴洪裕临终时要求家人将画焚烧殉葬。点火时，幸有其家人将此画抢出，可惜已焚断为一大一小两段。几经辗转，长0.51米、题跋6米多的前半卷《剩山图》存于浙江省博物馆，长6.4米的后半卷《无用师卷》藏于台北故宫博物院。两岸艺术热心人士几经努力，希望有朝一日能“破镜重圆”，今年6月1日这一心愿终于在台北故宫博物院梦想成真。
团圆愿望 跨越世纪
长期分隔两地的《富春山居图》曾在刊物和电视上“合璧”过。据浙江省文物局原局长毛昭晰先生回忆，1986年，当时日本的美术史专家匹田桂一郎带着台北故宫博物院所藏“无用师卷”的照片专程来到杭州，希望能够拍摄浙江博物馆所藏的《剩山图》，在刊物上展现全貌。最终，这张“合璧”的照片出现在日本朝日新闻社出版的刊物《世界名画之旅》中。
而事实上，从上世纪90年代起，浙江就开始推动两岸《富春山居图》合璧。2005年，名画合璧出现转机。当时，凤凰卫视电视台台长刘长乐曾几次到台湾努力促成此事，台湾回复称：《剩山图》先去台湾展览。
2008年后，海峡两岸交流日渐频繁，展览条件相对比较成熟。刘长乐再把问题提出来，浙江博物馆也一直非常希望能促成此事。在2008年底2009年初，浙江博物馆和台北故宫博物院开始进行直接交流，并通过发送电子邮件、信函往来、人员互访等方式，促成此事。真正的转机出现了。2010年初，温总理在‘两会’记者招待会上讲了《富春山居图》分藏两岸的故事，并表达了希望两幅画能早日合成一幅画的愿望。总理的关注加快了这一工作的进程。2010年6月，浙江省省长吕祖善访问台湾时表示，浙江愿意为《富春山居图》合展走出第一步，将浙江省博物馆馆藏的《剩山图》先拿到台湾合璧展出。同时也希望，在未来合适的时候，请台北故宫博物院将所藏的《无用师卷》拿到大陆来合璧展出。今年1月16日，“山水合璧黄公望《富春山居图》特展”在原创地浙江富春江畔举行了备忘录签署仪式。这意味着，360多年前被焚成两段、60多年前分隔两岸的《富春山居图》，最终的合璧事宜正式敲定。
合璧之旅 用心良苦
5月11日下午，浙江省博物馆“镇馆之宝”《剩山图》赴台前的点交启运仪式在杭州举行。《剩山图》由中国文物交流中心先送往北京，再由台湾广达文教基金会移交台北故宫博物院。下午2时55分，在慎重的装箱仪式后，《剩山图》被装入特制的“恒温恒湿”文物箱，经清点移交至中国文物交流中心，全程专人护送至北京。当天，由于杭州下着小雨，湿度比较高，因此《剩山图》并没有在仪式现场展开。
为了让《剩山图》安全抵台，浙江省博物馆根据《剩山图》尺寸大小量身定制了运输箱，为了保证运输安全，箱子加装保险锁。《剩山图》装入后，加装安全锁、贴上封条，由专人保管专人押运。
“《富春山居图》问世已660年，几经辗转，纸张已经非常脆弱。温度、湿度的变化和灯光直射，乃至每一次展卷，都可能造成无法弥补的损害。”浙江博物馆馆长陈浩告诉记者,浙江省博物馆对《剩山图》的展出环境提出了严格要求：展柜的温度需控制在20℃至24℃之间，湿度在58%至63%之间，照度50 LUX。陈浩说，《剩山图》和《无用师卷》是各自装裱的独立画轴，为了实现最大限度的合璧，双方经过多次商讨，最终确定将两幅画一同放入台北故宫博物院量身定制的10多米长的大通柜中。大通柜24小时恒温恒湿，其中置有高度适宜的斜面展台摆放作品，方便观众参观。
根据双方签订的备忘录，浙江省博物馆和台北故宫博物院于2011年6月1日至9月25日，在台北故宫博物院联合主办“山水合璧黄公望与《富春山居图》特展”。除了《剩山图》，浙江省博物馆还提供了清王原祁《仿富春山居图轴》和奚冈《仿黄公望富春笔意图轴》两件展品。其中，在展览前半期的两个月里，《剩山图》将与台北故宫博物院所藏《无用师卷》在展厅里独立重点展示，同展同收。
Reunion of Two Parts ofa Masterpiece
By Xiao Zhu
The afternoon of May 11, 2011 witnessed journalists from media on the mainland and across the straits gather together at Zhejiang Museum on the West Lake in Hangzhou. They were there to witness the moment Remaining Mountains starting its long-expected travel to Taiwan for the reunion and joint display with the bigger part of the same masterpiece entitled the Mountain Dwelling on the Fuchun River.
The masterpiece was created by Huang Gongwang (1269-1354), an artist of the Yuan Dynasty (1206-1370). It is considered one of the top ten all-time paintings of China. In 1650, the owner of the painting Wu Hongyu on his deathbed asked his family to burn the painting so that the artwork and he could go to the next world together. It was salvaged out of the fire by a relative, but part of the long scroll was hopelessly destroyed in the fire, and the rest fall apart in two parts. The longer part, about 6.4 meters in length, is now in the National Palace Museum in Taipei. The small part, 0.51 meters long, has been in the collection of the Zhejiang Museum since the early 1950s. It adopted the name Remaining Mountains. The two parts have stayed separate for hundreds of years since 1650.
A lot of people have wanted to see the two on display together. In 1986, a Japanese art historian photographed the two respectively in Taipei and Hangzhou and published the two together in a publication of celebrated top artworks put together by Ashahi Shimbun, a leading news media of Japan.
In fact Zhejiang took actions in the 1990s to bring the two together, but all the efforts came to nil. It was not until 2005 that the National Palace Museum in Taipei gave a positive response. In 2009, the two museums got down to business and started exploring the possibility of exhibiting the two parts together in Taiwan.
The turning point came in 2010 when Premier Wen Jiabao expressed his hope at a press conference during the NPC annual session that he would be very happy to see the two paintings come together in a joint exhibition as soon as possible. In June, 2010, Zhejiang Province Governor Lu Zushan said during his visit to Taiwan that Zhejiang would take the first step and bring the painting to Taiwan and hoped that the big part in Taiwan would one day come to the mainland.
On January 16th, 2011, a memo was signed in Hangzhou for the joint exhibition in Taiwan. By the time, the masterpiece had been in two pieces for more than 360 years and the two pieces had been separated by the Taiwan Straits for more than 60 years.
The joint exhibition is scheduled to start on June 1, 2011 and end on September 25, 2011.
A handover ceremony was held on the afternoon of May 11 at Zhejiang Museum. It would first go to Beijing and then go to Taiwan later. At 2:55, the artwork was put into a tailor-made box inside which constant temperature and humidity were maintained. Regrettably, as it drizzled and humidity was quite high, the painting wasn’t opened for view at the ceremony.
The masterpiece is considered a priceless treasure for various reasons. Xu Hongliu, vice curator of Zhejiang Museum, says that Yuan Dynasty is one of the two peak periods in the art history of China when landscape painting experienced landmark transformation. Literati-styled landscape painting matured in the Yuan Dynasty. Huang’s masterpiece stands for this crowning glory of landscape painting in the Yuan Dynasty. Huang Gongwang is a great representative of the mature landscape painting of the dynasty. The long scroll depicts a dream landscape like Shangri-La where people can live in harmony with nature and poetry and beauty. This is why it holds such a tremendous appeal to viewers.
The joint exhibition of the two parts of a masterpiece embodies a much larger aspiration over the last 60 years: the reunion of the motherland torn apart in history.
《富春山居图》是“元四家”之首黄公望的代表作。以浙江富春江为背景，全图用墨淡雅，山和水的布置疏密得当，墨色浓淡干湿并用，极富于变化，被称为中国十大传世名画之一。清顺治七年（1650），此画为藏家吴洪裕所有。吴洪裕临终时要求家人将画焚烧殉葬。点火时，幸有其家人将此画抢出，可惜已焚断为一大一小两段。几经辗转，长0.51米、题跋6米多的前半卷《剩山图》存于浙江省博物馆，长6.4米的后半卷《无用师卷》藏于台北故宫博物院。两岸艺术热心人士几经努力，希望有朝一日能“破镜重圆”，今年6月1日这一心愿终于在台北故宫博物院梦想成真。
团圆愿望 跨越世纪
长期分隔两地的《富春山居图》曾在刊物和电视上“合璧”过。据浙江省文物局原局长毛昭晰先生回忆，1986年，当时日本的美术史专家匹田桂一郎带着台北故宫博物院所藏“无用师卷”的照片专程来到杭州，希望能够拍摄浙江博物馆所藏的《剩山图》，在刊物上展现全貌。最终，这张“合璧”的照片出现在日本朝日新闻社出版的刊物《世界名画之旅》中。
而事实上，从上世纪90年代起，浙江就开始推动两岸《富春山居图》合璧。2005年，名画合璧出现转机。当时，凤凰卫视电视台台长刘长乐曾几次到台湾努力促成此事，台湾回复称：《剩山图》先去台湾展览。
2008年后，海峡两岸交流日渐频繁，展览条件相对比较成熟。刘长乐再把问题提出来，浙江博物馆也一直非常希望能促成此事。在2008年底2009年初，浙江博物馆和台北故宫博物院开始进行直接交流，并通过发送电子邮件、信函往来、人员互访等方式，促成此事。真正的转机出现了。2010年初，温总理在‘两会’记者招待会上讲了《富春山居图》分藏两岸的故事，并表达了希望两幅画能早日合成一幅画的愿望。总理的关注加快了这一工作的进程。2010年6月，浙江省省长吕祖善访问台湾时表示，浙江愿意为《富春山居图》合展走出第一步，将浙江省博物馆馆藏的《剩山图》先拿到台湾合璧展出。同时也希望，在未来合适的时候，请台北故宫博物院将所藏的《无用师卷》拿到大陆来合璧展出。今年1月16日，“山水合璧黄公望《富春山居图》特展”在原创地浙江富春江畔举行了备忘录签署仪式。这意味着，360多年前被焚成两段、60多年前分隔两岸的《富春山居图》，最终的合璧事宜正式敲定。
合璧之旅 用心良苦
5月11日下午，浙江省博物馆“镇馆之宝”《剩山图》赴台前的点交启运仪式在杭州举行。《剩山图》由中国文物交流中心先送往北京，再由台湾广达文教基金会移交台北故宫博物院。下午2时55分，在慎重的装箱仪式后，《剩山图》被装入特制的“恒温恒湿”文物箱，经清点移交至中国文物交流中心，全程专人护送至北京。当天，由于杭州下着小雨，湿度比较高，因此《剩山图》并没有在仪式现场展开。
为了让《剩山图》安全抵台，浙江省博物馆根据《剩山图》尺寸大小量身定制了运输箱，为了保证运输安全，箱子加装保险锁。《剩山图》装入后，加装安全锁、贴上封条，由专人保管专人押运。
“《富春山居图》问世已660年，几经辗转，纸张已经非常脆弱。温度、湿度的变化和灯光直射，乃至每一次展卷，都可能造成无法弥补的损害。”浙江博物馆馆长陈浩告诉记者,浙江省博物馆对《剩山图》的展出环境提出了严格要求：展柜的温度需控制在20℃至24℃之间，湿度在58%至63%之间，照度50 LUX。陈浩说，《剩山图》和《无用师卷》是各自装裱的独立画轴，为了实现最大限度的合璧，双方经过多次商讨，最终确定将两幅画一同放入台北故宫博物院量身定制的10多米长的大通柜中。大通柜24小时恒温恒湿，其中置有高度适宜的斜面展台摆放作品，方便观众参观。
根据双方签订的备忘录，浙江省博物馆和台北故宫博物院于2011年6月1日至9月25日，在台北故宫博物院联合主办“山水合璧黄公望与《富春山居图》特展”。除了《剩山图》，浙江省博物馆还提供了清王原祁《仿富春山居图轴》和奚冈《仿黄公望富春笔意图轴》两件展品。其中，在展览前半期的两个月里，《剩山图》将与台北故宫博物院所藏《无用师卷》在展厅里独立重点展示，同展同收。
Reunion of Two Parts ofa Masterpiece
By Xiao Zhu
The afternoon of May 11, 2011 witnessed journalists from media on the mainland and across the straits gather together at Zhejiang Museum on the West Lake in Hangzhou. They were there to witness the moment Remaining Mountains starting its long-expected travel to Taiwan for the reunion and joint display with the bigger part of the same masterpiece entitled the Mountain Dwelling on the Fuchun River.
The masterpiece was created by Huang Gongwang (1269-1354), an artist of the Yuan Dynasty (1206-1370). It is considered one of the top ten all-time paintings of China. In 1650, the owner of the painting Wu Hongyu on his deathbed asked his family to burn the painting so that the artwork and he could go to the next world together. It was salvaged out of the fire by a relative, but part of the long scroll was hopelessly destroyed in the fire, and the rest fall apart in two parts. The longer part, about 6.4 meters in length, is now in the National Palace Museum in Taipei. The small part, 0.51 meters long, has been in the collection of the Zhejiang Museum since the early 1950s. It adopted the name Remaining Mountains. The two parts have stayed separate for hundreds of years since 1650.
A lot of people have wanted to see the two on display together. In 1986, a Japanese art historian photographed the two respectively in Taipei and Hangzhou and published the two together in a publication of celebrated top artworks put together by Ashahi Shimbun, a leading news media of Japan.
In fact Zhejiang took actions in the 1990s to bring the two together, but all the efforts came to nil. It was not until 2005 that the National Palace Museum in Taipei gave a positive response. In 2009, the two museums got down to business and started exploring the possibility of exhibiting the two parts together in Taiwan.
The turning point came in 2010 when Premier Wen Jiabao expressed his hope at a press conference during the NPC annual session that he would be very happy to see the two paintings come together in a joint exhibition as soon as possible. In June, 2010, Zhejiang Province Governor Lu Zushan said during his visit to Taiwan that Zhejiang would take the first step and bring the painting to Taiwan and hoped that the big part in Taiwan would one day come to the mainland.
On January 16th, 2011, a memo was signed in Hangzhou for the joint exhibition in Taiwan. By the time, the masterpiece had been in two pieces for more than 360 years and the two pieces had been separated by the Taiwan Straits for more than 60 years.
The joint exhibition is scheduled to start on June 1, 2011 and end on September 25, 2011.
A handover ceremony was held on the afternoon of May 11 at Zhejiang Museum. It would first go to Beijing and then go to Taiwan later. At 2:55, the artwork was put into a tailor-made box inside which constant temperature and humidity were maintained. Regrettably, as it drizzled and humidity was quite high, the painting wasn’t opened for view at the ceremony.
The masterpiece is considered a priceless treasure for various reasons. Xu Hongliu, vice curator of Zhejiang Museum, says that Yuan Dynasty is one of the two peak periods in the art history of China when landscape painting experienced landmark transformation. Literati-styled landscape painting matured in the Yuan Dynasty. Huang’s masterpiece stands for this crowning glory of landscape painting in the Yuan Dynasty. Huang Gongwang is a great representative of the mature landscape painting of the dynasty. The long scroll depicts a dream landscape like Shangri-La where people can live in harmony with nature and poetry and beauty. This is why it holds such a tremendous appeal to viewers.
The joint exhibition of the two parts of a masterpiece embodies a much larger aspiration over the last 60 years: the reunion of the motherland torn apart in history.