Surging Exhibition|Walk into the special exhibition of "Dialogue with Da Vinci" at Shangbo. (04:01)
The Shanghai Museum's "Dialogue with Leonardo da Vinci - Renaissance and Oriental Aesthetics Special Exhibition" will open on December 10. This exhibition is also the first exhibition of Eastern and Western painting art created by the Shanghai Museum, and how the 18 Renaissance art treasures led by Leonardo da Vinci and the 18 ancient paintings from the Shanghai Expo Museum open a "dialogue" have always been the focus of public attention. As the opening of the exhibition approaches, The Paper interviewed the Chinese curators and Italian curators of the exhibition on December 9 to listen to their interpretation of the "Sino-Western dialogue" of the exhibition.
This exhibition can be said to be the first real dialogue exhibition between Eastern and Western paintings in China, and it faces many difficulties in the preparation and presentation of the exhibition. The curator of this exhibition.
1. Ling Lizhong, director of the Painting and Calligraphy Research Department of the Shanghai Museum, told The Paper that from the perspective of academic research, it is necessary to take both the East and the West into accountSecondly, there needs to be a rich collection to reflect. "It can be said that only the combination of academic research and a rich collection can lead to this exhibition. ”
In terms of exhibition design, the exhibition deliberately highlights "dialogue", and perfectly integrates Chinese and Western works into one exhibition hall through spatial echoes. The exhibition hall is divided into several spaces, which are distinguished by "macaron colors" such as blue, pink, and orange, which are both independent and interconnected. During the walk, the winding path leads to the secluded, and a romantic and aesthetic atmosphere circulates in the exhibition hall.
Exhibition view. Leonardo da Vinci's 18 Western artworks run through the gallery on the main axis, while 18 Chinese paintings are semi-enclosed around the main axis. In the middle of the central axis is Leonardo da Vinci's "Woman with Flowing Hair", which is also the absolute "C" position of the entire exhibition hall, standing in front of this painting, through the arches and windows on the exhibition wall, you can see the most important ancient Chinese paintings in this exhibition from different angles.
Exhibition view. To the upper left, you can see Tang Bohu's masterpiece of the Ming Dynasty "Autumn Wind Fan". Picture** The lady standing on the slope looking back is opposite the side face, and the flowing hair with her eyes hanging down is just forming an oblique angle to each other.
It sounds like the era of the Renaissance and Leonardo da Vinci is far away from us, but in fact, it corresponds to our Ming Dynasty, and Chinese painting has gone through several rounds of development. Ling Lizhong, director of the painting and calligraphy department of the Shanghai Museum, said, "From the perspective of time, the cultural and artistic center of the Renaissance West is the Florence area, corresponding to the Wumen region of China in the same period. ”
The Autumn Wind Fan Scroll is a masterpiece of Tang Bohu's later years, depicting a lady with a delicate and gentle face standing in a corner of the courtyard, holding a fan and contemplating. This work is a self-portrayal of the painter who uses the literary allusions of Ban Jieyu of the Western Han Dynasty to compare himself and lament the ups and downs of life and the hot and cold state of the world. "Woman with Flowing Hair" depicts a woman looking down with her head down, and like many of da Vinci's other portraits, this work is very reverberating, with da Vinci using small, wavy brushstrokes to outline the woman's head and make it appear to be fluttering in the wind.
Tang Yin (1470-1523), circa 1520, Ink on paper, Shanghai Museum.
Leonardo da Vinci (1452-1519) circa 1492-1501 National Gallery of Parma.
The technique and style of this painting stand out from the rest of Leonardo da Vinci's work. Ling Lizhong said, "Its elegant, mysterious feeling is through a very freehand painting method, some scholars believe that he is not finished, and some scholars think that he is deliberately pursuing such an incomplete style, which can leave people with space for thinking and reverie, and this painting is very close to the charm of our oriental Chinese painting." ”
Exhibition view. The Autumn Wind Fan Scroll was created about ten or twenty years later than "Woman with Flowing Hair", and in the upcoming reopening of the Chinese Painting Gallery, they deliberately chose Tang Bohu's "Yellow Mao Small Scene Scroll", which is about the same year as Leonardo da Vinci's "Woman with Flowing Hair". "There are only a limited number of works that can be displayed in the special exhibition, but if the audience still wants to learn more about the art of painting and calligraphy in the Wumen area in the 15th century, they can continue to watch it at the painting and calligraphy museum. ”
Five Dynasties, Anonymous, c. 960, ink and color on silk, Shanghai Museum.
To the right, you can see another national treasure painting in the collection of the Shanghai Expo Museum - the Five Dynasties "Gate Disc Scroll". The volume of "Gate Panche Diagram" is an empirical evidence of the prosperity of water conservancy in the Tang and Song dynasties. More than 50 characters shuttled in the meantime, or grinding noodles and carrying grain, or having fun and drinking, bustling, Yongyong Mumu. Among them, the color building, the Huanmen, the wine curtain, and the wheelbarrow are detailed and rigorous, which can be corroborated with the volume of Zhang Zeduan's "Qingming Riverside Map" in the Northern Song Dynasty, and is full of rational spirit. The water mill and water hammer surface in the picture show the outstanding achievements of the ancients in the application of hydraulic power. Walking through the exhibition hall, visitors can also find Western paintings that echo it, such as Leonardo da Vinci's "Large Man-Powered Wheel: Codex Atlantic", which reflects the artist's scientific and rigorous conceptual creation, as well as his observation and understanding of nature.
Anonymous "Gate Disc Scroll" (detail), Five Dynasties, collection of Shanghai Museum.
Leonardo da Vinci, Machine with Four Crossbows (detail), circa 1485-1487, Codex Atlanticus, p. 1070r (first p. 387v-a), Biblioteca and Art Gallery, Milan.
From the relationship between the science and art of painting, this painting is a perfect combination, which is not only a work of art, but also shows the advancement of our technology. Ling Lizhong said, "From the perspective of style history, Leonardo da Vinci lived in an era that advocated rationality and science, and studied the light and shade and perspective of nature, corresponding to the realistic painting style of Chinese painting. ”
In the exhibition, the same painting theme, Chinese and Western painters' expressions and styles are very different, as can be seen from Yuan Ren's "Horse of the Long Pine" and Leonardo da Vinci's manuscript "Horse".
Biography of Zhao Yong, "Long Pine Horse Scroll" (detail), circa 1360, collection of Shanghai Museum.
Leonardo da Vinci, Scenes of Cannon Firing and a Horse (detail), 1503, Codex Atlanticus, p. 72r, collection of the Biblioteca and Gallery of Ambro, Milan.
Leonardo da Vinci painted horses for research purposes, and he created countless images of horses during his lifetime, and once recommended himself to make a bronze equestrian statue of Sforza, Duke of Milan, which was not finalized, but left a valuable manuscript. His manuscripts are basically the study of the local image of the horse, including the legs, body muscles, bones, and line direction. In contrast, Leonardo da Vinci's horse is more concrete, although it lacks the charm of Chinese horses, but it is more scientific and conforms to the anatomical structure. This difference is based on the difference in the concept of Chinese and Western painting. Ling Lizhong said.
Liang Kai (active in the 12th-13th centuries), circa 1204, Ink on paper, Shanghai Museum.
In addition, the audience can also find the "clues" and dialogues between Eastern and Western art from the works on display, such as "Portrait of the White Portrait of the Daojun" and Qiu Ying's "Sending the Child to Guanyin Picture Scroll". The Portrait of the Daojun is itself a large-scale mural sketch, which developed into an independent art style during the Song Dynasty. Leonardo da Vinci includes Michelangelo's Legs, which are large-scale sculptures or painted manuscripts. In addition, from the perspective of subject matter, it belongs to religious themes, and the picture depicts heaven, earth, and hell, and many of the themes of Dante's "Divine Comedy" in the Renaissance come from religion.
Legs, circa 1524-1525 Michelangelo Bonarroti (1475-1564) House of Bonarroti in Florence.
One of the curators of the Italian side, the director of the Cultural Department of the Italian Consulate General in Shanghai, Da Renli, told The Paper that how to understand the dialogue between Eastern and Western art presented in the exhibition requires the audience to add their own imagination, because whether it is Leonardo da Vinci, Tang Bohu or any of the Chinese and Western artists in the exhibition hall, they have never met, and the real dialogue has not happened between them. "But we put these works of art here, hoping that the audience will discover through their own imagination that there are actually a lot of commonalities between Chinese and Western art, and that after the artist creates the work, his masterpiece belongs to all mankind. ”
Exhibition view. **The Paper, for more original information, please **"The Paper" app).