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文化部全面開展全国美术馆藏品普查，这是一项影响广泛、效应持久的系统工程。浙江省美术藏品普查工作于2016年11月完成，共计普查藏品数量94889件。为展示全省美术馆藏品普查的成果，特遴选展出全省27家美术馆馆藏精品100件，于2017年1月5日至2月19日，在浙江美术馆举办“盈藏呈祥——全省美术馆馆藏精品展”。这是一场真正的“跨年”大展，也是浙江全省美术馆（艺术馆、纪念馆）“镇馆之宝”的集体亮相。
展出的100幅作品中，浙江美术馆展出的石涛《练江归钓图》、任伯年《无量寿佛》是清代山水、人物画的代表之作；齐白石的《牵牛花图》、于右任《海纳壁立联》、徐悲鸿《马》图等则是民国以来书画新风的扛鼎之作；现代画家吴冠中的油画《眼》，曾是他生前挂在自家客厅墙上唯一的本人画作，这些作品呈现了浙江自清代至当代几百年美术发展史的缩影。
名家辈出的中国美术学院美术馆也一展风采，展品中不乏大师之作：林风眠中西合璧的彩墨《风景》图、沙孟海雄健古拙的行书《不顾喜大联》、陆俨少水墨淋漓的《山水》图、陆抑非的写意《牡丹》图、宋忠元的工笔《邓白教授》等精品，都出自中国美术学院老一辈艺术家兼教育家的手笔，代表着中国美院在西画和中国画山水、花鸟、人物，以及书法等艺术门类中的高峰。
其他市县级美术馆如宁波美术馆、温州美术馆、嘉兴美术馆、丽水市美术馆等汇聚了相应市县的名家之作，或古或今，异彩纷呈，颇具地方特色。宁波美术馆展出的沙耆水彩画《女子半身像》吸引许多观众和艺术工作者驻足观赏。温州美术馆展出的徐启雄的《秋颂》，一个穿长裙、披黑发的姑娘半跪在地上吹着长笛，四周落叶缤纷，画面意境美妙，寄托着画家对生活的热爱和对金秋的赞颂。
晚清著名书画家蒲华，嘉兴人，善画花卉、山水，尤擅画竹，有“蒲竹”之誉。这次嘉兴美术馆把藏品——蒲华的《竹石图》《梅》《兰》展出，引人注目，特别是《竹石图》，潇洒奇逸，水墨淋漓，线条流畅凝练，柔中寓刚，风韵清隽，体现了蒲华绘画的风格特征。丽水市美术馆展出的李震坚的《易安词思图》获得观众的点赞与欢迎。
名人艺术馆如吴镇纪念馆、潘天寿纪念馆、吴昌硕纪念馆、李叔同纪念馆、丰子恺纪念馆、张宗祥书画院、张乐平纪念馆、钱君匋艺术研究院、吴茀之纪念馆、徐邦达艺术馆等，则奉献了一位位浙籍书画巨擘的真迹，或大轴巨幅，或片纸一帧，无不气韵非凡，令人瞩目。周昌谷艺术馆藏品、周昌谷的国画《天问》《芙蓉三变》，丰子恺纪念馆藏品、丰子恺的漫画《田翁烂醉身如舞》，费新我艺术馆藏品、费新我的行书“花藏莺占”联，陆维钊书画院藏品、陆维钊的国画《竹芭》，都是难得一见的珍品。
举办全省美术馆藏品的联合展览，在浙江尚属首次。要集齐27家美术馆的镇馆之宝，不是一朝一夕之功。在展览策划过程中，非常注重活化藏品，特别是一些规模较小的地方美术馆，由于条件限制，很少有机会让藏品在重要的展览中亮相。这次展览可谓激活了这些藏品，有的还是第一次公开展出。在展览开幕式上，浙江省27家美术馆联合发布《共同促进全省美术馆事业发展倡议书》，决心以此次全省美术馆藏品普查和馆藏精品展为契机，坚持互相交流，构建全省美术馆藏品信息库，打破馆际限制，实现资源共享，携手共创浙江美术馆界繁荣昌盛的新局面。
一次普查，一份倡议，一个展览，浙江省美术馆界迈出了探索美术界合作发展新路的第一步。
Twenty Seven Art Museums Display Artworks
By Feng Guoming
A comprehensive survey by the Ministry of Culture was conducted nationwide to find exactly how many artworks are in the collections of art museums across the country. According to the survey in Zhejiang completed in November 2016， the 27 art museums in the province held a total of 94，889 artworks in their separate collections.
An exhibition was held at Zhejiang Art Museum based in Hangzhou to showcase the best of the collections. It started on January 5， 2017 and ended on February 19. It was the first time that the province put on such a show. The organizers did their best to put together a show that would justify the occasion and satisfy the curiosity of the public， critics， artists. Some art museums are located far away from Hangzhou. They are usually located at birthplaces and hometowns of the artists. The general public had never had a chance to see representative pieces of the artists at one place. The exhibition offered a rare opportunity to have an insightful view of the art museums， their respective collections， and the best of the masters. At the opening ceremony held on January 5， the 27 art museums issued a joint proposal to join hands in promoting the development of art museums of the province. The general idea of the proposal is to enhance exchanges and communications， and share the resources so as to create a bright future for the art museums in Zhejiang.
Zhejiang Art Museum is a biggest player of the art scene in the province. The exhibits from its collection highlighted the landscapist Shi Tao and figure artist Ren Bonian of the Qing Dynasty （1644-1911）， Qi Baishi， Yu Youren and Xu Beihong of the republic years in the first half of the 20th century， and Wu Guanzhong， a modern artist. These artworks embodied art over the past hundreds of years in Zhejiang.
The art museum of China Academy of Art was a big contributor to the exhibition. The academy holds a large eclectic collection including artworks of the masters who once taught at the academy. The heavyweight names presented by the museum included Lin Fengmian， Sha Menghai， Lu Yanshao， Lu Yifei， and Song Zhongyuan， featuring the achievements the academy has accomplished in the field of western art and traditional Chinese art genres such as landscape， flower-bird， figure and calligraphy.
Regional art museums are a part of the 27 art museums across the province. This time， art museums in Ningbo， Wenzhou， Jiaxing and Lishui featured local artists， which were probably less known to the public. Ningbo presented Sha Qi， an oil painter. Wenzhou exhibited Xu Qixiong. Jiaxing showcased Pu Hua， a Qing dynasty landscape artist. Lishui featured Li Zhenjian， an artist who joined hands with his colleagues at then Zhejiang Academy of Fine Arts in launching a renaissance of figure painting in the 1950s.
Quite a few art museums in Zhejiang are named after artists and largely hold their individual collections. Their presence at the exhibition was eye-catching： Wu Zhen， Pan Tianshou， Wu Changshuo， Li Shutong， Feng Zikai， Zhang Zongxiang， Zhang Leping， Qian Juntao， Wu Fuzhi， Xu Bangda， Zhou Changgu， Fei Xinwo， Lu Weizhao were all represented at the exhibition. Many of these names can be independent chapters of an art history of the country.
It is agreed that the survey， the exhibition， and the joint proposal have opened a new chapter for these art museums across the province.
展出的100幅作品中，浙江美术馆展出的石涛《练江归钓图》、任伯年《无量寿佛》是清代山水、人物画的代表之作；齐白石的《牵牛花图》、于右任《海纳壁立联》、徐悲鸿《马》图等则是民国以来书画新风的扛鼎之作；现代画家吴冠中的油画《眼》，曾是他生前挂在自家客厅墙上唯一的本人画作，这些作品呈现了浙江自清代至当代几百年美术发展史的缩影。
名家辈出的中国美术学院美术馆也一展风采，展品中不乏大师之作：林风眠中西合璧的彩墨《风景》图、沙孟海雄健古拙的行书《不顾喜大联》、陆俨少水墨淋漓的《山水》图、陆抑非的写意《牡丹》图、宋忠元的工笔《邓白教授》等精品，都出自中国美术学院老一辈艺术家兼教育家的手笔，代表着中国美院在西画和中国画山水、花鸟、人物，以及书法等艺术门类中的高峰。
其他市县级美术馆如宁波美术馆、温州美术馆、嘉兴美术馆、丽水市美术馆等汇聚了相应市县的名家之作，或古或今，异彩纷呈，颇具地方特色。宁波美术馆展出的沙耆水彩画《女子半身像》吸引许多观众和艺术工作者驻足观赏。温州美术馆展出的徐启雄的《秋颂》，一个穿长裙、披黑发的姑娘半跪在地上吹着长笛，四周落叶缤纷，画面意境美妙，寄托着画家对生活的热爱和对金秋的赞颂。
晚清著名书画家蒲华，嘉兴人，善画花卉、山水，尤擅画竹，有“蒲竹”之誉。这次嘉兴美术馆把藏品——蒲华的《竹石图》《梅》《兰》展出，引人注目，特别是《竹石图》，潇洒奇逸，水墨淋漓，线条流畅凝练，柔中寓刚，风韵清隽，体现了蒲华绘画的风格特征。丽水市美术馆展出的李震坚的《易安词思图》获得观众的点赞与欢迎。
名人艺术馆如吴镇纪念馆、潘天寿纪念馆、吴昌硕纪念馆、李叔同纪念馆、丰子恺纪念馆、张宗祥书画院、张乐平纪念馆、钱君匋艺术研究院、吴茀之纪念馆、徐邦达艺术馆等，则奉献了一位位浙籍书画巨擘的真迹，或大轴巨幅，或片纸一帧，无不气韵非凡，令人瞩目。周昌谷艺术馆藏品、周昌谷的国画《天问》《芙蓉三变》，丰子恺纪念馆藏品、丰子恺的漫画《田翁烂醉身如舞》，费新我艺术馆藏品、费新我的行书“花藏莺占”联，陆维钊书画院藏品、陆维钊的国画《竹芭》，都是难得一见的珍品。
举办全省美术馆藏品的联合展览，在浙江尚属首次。要集齐27家美术馆的镇馆之宝，不是一朝一夕之功。在展览策划过程中，非常注重活化藏品，特别是一些规模较小的地方美术馆，由于条件限制，很少有机会让藏品在重要的展览中亮相。这次展览可谓激活了这些藏品，有的还是第一次公开展出。在展览开幕式上，浙江省27家美术馆联合发布《共同促进全省美术馆事业发展倡议书》，决心以此次全省美术馆藏品普查和馆藏精品展为契机，坚持互相交流，构建全省美术馆藏品信息库，打破馆际限制，实现资源共享，携手共创浙江美术馆界繁荣昌盛的新局面。
一次普查，一份倡议，一个展览，浙江省美术馆界迈出了探索美术界合作发展新路的第一步。
Twenty Seven Art Museums Display Artworks
By Feng Guoming
A comprehensive survey by the Ministry of Culture was conducted nationwide to find exactly how many artworks are in the collections of art museums across the country. According to the survey in Zhejiang completed in November 2016， the 27 art museums in the province held a total of 94，889 artworks in their separate collections.
An exhibition was held at Zhejiang Art Museum based in Hangzhou to showcase the best of the collections. It started on January 5， 2017 and ended on February 19. It was the first time that the province put on such a show. The organizers did their best to put together a show that would justify the occasion and satisfy the curiosity of the public， critics， artists. Some art museums are located far away from Hangzhou. They are usually located at birthplaces and hometowns of the artists. The general public had never had a chance to see representative pieces of the artists at one place. The exhibition offered a rare opportunity to have an insightful view of the art museums， their respective collections， and the best of the masters. At the opening ceremony held on January 5， the 27 art museums issued a joint proposal to join hands in promoting the development of art museums of the province. The general idea of the proposal is to enhance exchanges and communications， and share the resources so as to create a bright future for the art museums in Zhejiang.
Zhejiang Art Museum is a biggest player of the art scene in the province. The exhibits from its collection highlighted the landscapist Shi Tao and figure artist Ren Bonian of the Qing Dynasty （1644-1911）， Qi Baishi， Yu Youren and Xu Beihong of the republic years in the first half of the 20th century， and Wu Guanzhong， a modern artist. These artworks embodied art over the past hundreds of years in Zhejiang.
The art museum of China Academy of Art was a big contributor to the exhibition. The academy holds a large eclectic collection including artworks of the masters who once taught at the academy. The heavyweight names presented by the museum included Lin Fengmian， Sha Menghai， Lu Yanshao， Lu Yifei， and Song Zhongyuan， featuring the achievements the academy has accomplished in the field of western art and traditional Chinese art genres such as landscape， flower-bird， figure and calligraphy.
Regional art museums are a part of the 27 art museums across the province. This time， art museums in Ningbo， Wenzhou， Jiaxing and Lishui featured local artists， which were probably less known to the public. Ningbo presented Sha Qi， an oil painter. Wenzhou exhibited Xu Qixiong. Jiaxing showcased Pu Hua， a Qing dynasty landscape artist. Lishui featured Li Zhenjian， an artist who joined hands with his colleagues at then Zhejiang Academy of Fine Arts in launching a renaissance of figure painting in the 1950s.
Quite a few art museums in Zhejiang are named after artists and largely hold their individual collections. Their presence at the exhibition was eye-catching： Wu Zhen， Pan Tianshou， Wu Changshuo， Li Shutong， Feng Zikai， Zhang Zongxiang， Zhang Leping， Qian Juntao， Wu Fuzhi， Xu Bangda， Zhou Changgu， Fei Xinwo， Lu Weizhao were all represented at the exhibition. Many of these names can be independent chapters of an art history of the country.
It is agreed that the survey， the exhibition， and the joint proposal have opened a new chapter for these art museums across the province.