Exhibition time: July 29th, 2008-65438+1October 7th.
Opening hours: 9: 00- 17: 00 (closed on Monday 16: 00).
Venue: Hall B, Capital Museum (first floor, West Zone)
order
This is an oriental civilization with a long history. No matter how many times the northern nomads went south, or the invasion of western powers, the inheritance and process of civilization never stopped, and it was unique in the Far East.
This is a magical and magnificent oriental civilization. In the eyes of westerners, it not only evolved from "Silk Country" (Cerise, Seres, ∑ηε) to "Porcelain Country", but also evolved from "Han People" to "Tang People". In the legendary travel notes of adventure travelers such as Kyle Polo, it is a fascinating magical world.
This is a profound oriental civilization, taking Chinese civilization as the main body and absorbing and integrating regional civilization. Like a hundred rivers flowing endlessly.
This is an eternal oriental civilization. In the exchange and collision with other civilizations in the world, it has achieved its own innovation and development with unparalleled tolerance and regeneration, and promoted the overall process of world civilization.
This is Chinese civilization, which contains "harmony" civilization. To achieve the highest state of "harmony between man and nature", we must pursue the harmony between man and nature, with ceremony as the order and music as the harmony.
The ancient Chinese civilization, coming from the distant time and space, is now here to show you the most dazzling star among the brilliant stars of Chinese civilization last night, and it is also a treasure of cultural relics that can awaken the long-forgotten good memories.
The first part of the first light
(Prehistoric period before 265438 BC+0th century)
China has a long history of civilization. In the process of survival, ancestors gradually learned about nature and themselves and evolved themselves. From eating animals and drinking blood to drilling wood for fire, from collecting wild fruits to planting crops, from burrowing to building houses, from competing with wild animals to domesticating livestock, from tying ropes to depicting characters and symbols, from practical appliances to etiquette appliances, from clans to polis, we have stepped into the threshold of civilization. From Xiqiao Mountain culture in the south to Hongshan Culture in the north, from Liangzhu culture in the east to Majiayao culture in the west, the dawn of civilization is beginning to shine in China.
Details of the exhibits in this unit->
Part II: Li Le Anbang.
(265438 BC+0 century BC ~ 3 century BC)
With the emergence of the country, Chinese civilization ushered in its first development peak. In order to consolidate their own rule, Xia, Shang and Zhou established a strict system of rites and music. Use music to adjust the mind and integrate the relationship between the upper and lower groups. The resulting ritual vessels created a highly developed bronze culture. When the royal family declined in the Western Zhou Dynasty and the princes became stronger, it was accompanied by the rapid development and prosperity of regional civilization. The unification of Qin also unified regional civilization. Although Qin Zuo was short-lived, he was regarded as the standard system of Chinese civilization for nearly two thousand years.
First, the precipitation of etiquette
(265438 BC+0 century before ~ 8 century before)
Around 2 100 BC, Yu Xia emerged from the flood control and established the Xia Dynasty, and "abdication" became "hereditary". During the Shang and Zhou Dynasties, rites and music gradually flourished and sacrifices were frequent. From a large number of exquisite bronze ritual vessels unearthed, we can remotely feel the solemnity and complexity of the etiquette of that year. Oracle Bone Inscriptions and Jin Wen recorded the progress of this civilization.
Details of the exhibits in this unit->
Second, regional civilization is leading.
(8th century BC ~ 3rd century BC)
The highly developed ceremony and music civilization not only achieved its own glory, but also radiated to the surrounding areas. Influenced by it, the surrounding areas have given birth to unique regional civilization in the specific natural environment and their own culture. The same material has created vessels with different shapes and contains different cultural symbols.
Details of the exhibits in this unit->
Third, one hundred rivers finally flow into the sea.
(end of 3rd century BC)
Qin, a small country on the border of Xirong, gradually became powerful after the Shang Yang political reform, swept Liuhe and established a huge Qin empire. Cars on the same track and books in the same language promote the further integration and coordinated development of regional civilization and converge into the main axis of the development of Chinese civilization. Although there are only 15 years left in the Qin Dynasty, its political civilization is exemplary and has been passed down for thousands of years.
Details of the exhibits in this unit->
The third part is prosperous China.
(From the Western Han Dynasty to the Sui and Tang Dynasties, from the 3rd century BC to the10th century)
On the basis of Qin's unification, the Han Dynasty forged ahead, showing the vitality and vigor of a new empire. The opening of the Silk Road linked the civilizations of East Asia, West Asia and Europe, and the civilizations of China and Turkey influenced each other at the same time. During the Han Dynasty, powerful people continued until the Wei and Jin Dynasties. With the rise of heroes and romantic disputes, northern ethnic groups have moved south, and all ethnic groups have collided and merged with each other. The Tang Dynasty, with strong national strength, absorbed various foreign civilizations under the influence of Hu Feng from the west, and once again showed great vitality and broad weather. The strong Han Dynasty flourished in the Tang Dynasty, full of originality and various foreign civilizations, showing a new look of prosperity and peace and prosperity, which was praised by the prosperous times of the past dynasties.
First, the freezing of the times
(3rd century BC-3rd century AD)
The reorganization of regional civilization after the reunification of Qin gave new vitality to the Han Dynasty. "The rule of cultural scenes" opened the prosperous period of the Han Dynasty, which dominated the East and West side by side with the Roman Empire in Europe. The people who created this prosperous time and their languages have also been frozen, that is, Han people, China people and Chinese characters.
Details of the exhibits in this unit->
Second, the great integration of the North and South nationalities and the East and West cultures.
(3rd to 6th century AD)
After the brief reunification of the Jin Dynasty in troubled times at the end of the Han Dynasty, there was a long-term situation of division between the north and the south. Han culture has been continued and developed in the south, and the beauty of celadon modeling and glaze color has also become a new carrier of people's emotions. Northern minorities such as Xiongnu, Xianbei, Xiongnu, Biandi and Qiang have moved southward, and their customs and cultures are constantly colliding with Chinese culture. Mixed with the eastward spread of Buddhism and the introduction of Persian and Greek cultures, it gradually merged into the primitive Chinese civilization, emitting a unique charm of seeking common ground while reserving differences.
Details of the exhibits in this unit->
Third, the golden age.
(6th century ~10th century)
Enlightened politics and ethnic integration in the Tang Dynasty created social prosperity. The open society made the Tang Dynasty a multi-ethnic, multi-religious and multi-cultural gathering place. The Silk Road not only attracted "Hu merchants" from various countries, but also attracted various cultures and arts, which was an unprecedented cultural exchange and great integration. The integration of north and south, linking China and the west, pushed the Tang Dynasty to the peak of medieval world civilization.
Details of the exhibits in this unit->
The fourth part is the end of classicism
(10th century ~19th century)
On the basis of the civilization of the Tang Dynasty, the Song Dynasty turned around, and the spirit of the times turned from pursuing external grandeur to inner peace and pleasure, from the world to the state of mind, emphasizing elegant and delicate sensory enjoyment. Qinqi calligraphy and painting become the emotional carrier of literati, and tea wine becomes fashionable and elegant; Under the advocacy of Neo-Confucianism, the concept of "jade is better than jade" is once again respected, and whether porcelain is jade has become the standard to judge its advantages and disadvantages. However, the nomadic people in the north are still heading south, and the society that values literature over martial arts can no longer resist the fierceness of nomadic people and their soldiers. As a result, Jurchen, Mongolia and Manchu successively entered the Central Plains and merged into the Han family. While Chinese civilization has developed, perfected and pushed to the extreme along its own track, Western European countries have stepped out of the Middle Ages, developed their productive forces rapidly and stepped into modern civilization, changing the world pattern and the process of Chinese civilization.
First, happiness in peace
(10th century ~13rd century)
Zhao Kuangyin was the founding emperor of the Song Dynasty. He gained political power after becoming a yellow robe. He realized the idea of literati governing the country by "relieving the pressure of soldiers with a glass of wine". After experiencing the splendid civilization of the previous dynasty, it returned to the plain Song Dynasty, emphasizing literature over martial arts, pursuing peace of mind and ease of life. There are Xixia and Liao countries in front, but they are forced by Jurchen not to settle down, and they can still "sleep soundly on the couch". Although it lacks heroism, its philosophical understanding of life and the world has reached an unprecedented height, and people's elegant artistic conception can be appreciated from the charm of Song porcelain.
Details of the exhibits in this unit->
Second, the new music of ethnic fusion spectrum
(10th century ~14th century)
Snowfield, Jinge Iron Horse; Small bridge flowing water, romance in the west wing. The national strength of the Northern Song Dynasty was not strong enough, but its civilization was admired by the surrounding ethnic groups. The Tangut in the northwest, the Khitan in the northeast, and later the Jurchen and the Mongols won a corner, occupied half of the country, or unified China, but they were eventually merged by the Chinese nation, adding new colors to Chinese civilization.
Details of the exhibits in this unit->
3. Prosperity and brilliance
(14th century ~19th century)
In the nearly 500 years of Ming and Qing dynasties, the unified multi-ethnic country was further consolidated and strengthened, civilization was pushed to the extreme, and classicism finally prospered. Emperor Gaozong of the Qing Dynasty was even more ambitious and renamed the main hall of the Forbidden City "Taihe". But this is an unprecedented period of great change and development in western European countries, and the Ming and Qing Dynasties are also beating with the pulse of the times. First, some modern scientific knowledge was introduced by missionaries, and then turned to seclusion under the strong pressure of western powers' outward expansion.
Details of the exhibits in this unit->
conclusion
The "Chinese Memory-5000-year Civilization Treasures Exhibition" is sponsored by National Cultural Heritage Administration, the Organizing Committee of the 29th Olympic Games, the Beijing Municipal People's Government, the Tianjin Municipal People's Government, the Shanghai Municipal People's Government, the Hebei Provincial People's Government, the Shanxi Provincial People's Government, the Inner Mongolia Autonomous Region People's Government, the Liaoning Provincial People's Government, the Heilongjiang Provincial People's Government, the Jiangsu Provincial People's Government, the Zhejiang Provincial People's Government, the Jiangxi Provincial People's Government and the Shandong Provincial People's Government. People's Government of Hubei Province, Hunan Province, Guangdong Province, Guangxi Zhuang Autonomous Region, Sichuan Province, Yunnan Province, Xizang Autonomous Region Province, Shaanxi Province, Gansu Province, Qinghai Province, Ningxia Hui Autonomous Region and Xinjiang Uygur Autonomous Region (note: the sorting order is published on the government website).
Beijing Cultural Relics Bureau, Hunan Cultural Relics Bureau and other provincial and municipal cultural departments (cultural relics bureaus) co-organized.
Palace Museum, China National Museum, Institute of Archaeology of Chinese Academy of Social Sciences, Capital Museum, Hunan Provincial Museum, Beijing Dingling Museum, Beijing Baita Temple Management Office, Liaoning Provincial Museum, Tianjin Museum, Shanghai Museum, Hebei Provincial Institute of Cultural Relics, Hebei Provincial Cultural Relics Protection Center, Hebei Dingzhou Museum, Henan Provincial Institute of Cultural Relics and Archaeology, Shandong Provincial Museum, Shandong Provincial Institute of Cultural Relics and Archaeology, Shandong Qingzhou Museum, Heilongjiang Provincial Museum, Museum of Guangxi Zhuang Autonomous Region, Gansu Provincial Museum, Institute of Cultural Relics and Archaeology of Inner Mongolia Autonomous Region, Bahrain Right Banner Museum of Inner Mongolia, Aohan Banner Museum of Inner Mongolia, Sichuan Provincial Museum, Mianyang Museum of Sichuan Province, Chengdu Museum of Sichuan Province, Zhejiang Provincial Museum, Nanjing Museum, Nanjing Museum, Xuzhou Museum of Jiangsu Province, Hubei Provincial Museum, Jingzhou Museum of Hubei Province, Wuhan Museum of Hubei Province, Anhui Provincial Museum, Anhui Institute of Archaeology, Yuexi County Cultural Relics Management Office of Anhui Province, Hunan Institute of Archaeology, Changsha Museum of Hunan Province, Hengyang Museum of Hunan Province, Jiangxi Museum, Jingdezhen ceramics museum of Jiangxi Province, Jiangxi Institute of Cultural Relics and Archaeology, Nanyue King Museum of Western Han Dynasty in Guangzhou, Ningxia Hui Autonomous Region Museum, Guyuan Museum of Ningxia Hui Autonomous Region, Xinjiang Uygur Autonomous Region Museum, Shaanxi Qin Shihuang Terracotta Warriors and Horses Museum, Shaanxi Archaeological Research Institute, Hanyang Mausoleum Museum in Shaanxi Province, Joo Won? Museum in Shaanxi Province, Shanxi Museum, Potala Palace Management Office in Xizang Autonomous Region, Norbulingka Management Office in Xizang Autonomous Region, Yunnan Museum and Qinghai Museum (in no particular order).
The Capital Museum and the Hunan Provincial Museum are the organizers of this exhibition.
National treasures and cultural relics tell the story of 5000 years of civilization.
Article source: Beijing Evening News
China is one of the ancient civilizations in the world, and Chinese civilization is the only one in the world that has never been interrupted. No matter how many times the northern nomads went south and how many times the western powers invaded, the inheritance and process of civilization never stopped, which made them stand out in the Far East and stand out from others.
It is a magical and magnificent oriental civilization. In the eyes of westerners, it has evolved from "the country of silk" to "the country of porcelain" and from "Han people" to "Tang people". In the legendary travel notes of adventure travelers such as Kyle Polo, it is a fascinating magical world. It is a profound oriental civilization, taking Chinese civilization as the main body and absorbing and integrating regional civilization. Like a hundred rivers running; This is an eternal oriental civilization. In the exchange and collision with other civilizations in the world, it has achieved its own innovation and development with unparalleled tolerance and regeneration, and promoted the overall process of world civilization.
The booth of "Memory of China-5000 Years of Civilization" is located on the first floor of the square hall of the Capital Museum, with an exhibition area of 1400 square meters. * * The 1 69 pieces of cultural relics on display are selected from 55 cultural relics collection units such as scientific research institutes, museums and archaeological institutes belonging to 26 provinces, municipalities and autonomous regions in China, with distinctive characteristics of the times, which can represent one.
The earliest "Sun God" in China
Wen stone carving
The "stone carving of the sun god" unearthed in Zigui, Hubei Province, representing the worship of the sun god in the middle reaches of the Yangtze River, is the earliest physical object depicting the image of the sun god in China. This stone carving uses freehand brushwork to carve slender figures with drooping hands and feet apart. There are 23 shining suns carved on the top of the head, and the dots on both sides of the waist are like planets running in the universe. It not only reflects the worship of the sun god in a region, but also shows that the ancestors portrayed their "god" according to the image of human beings, reflecting their desire to develop human capabilities and their confidence in human rule of the world under the conditions of underdeveloped productivity and harsh environment.
The Millennium Wonder "Face"-Fang Ding with Bronze Face.
Fang Ding, a bronze ware with a human face unearthed in Ningxiang, Hunan Province, is a work in the late Shang Dynasty. Ding is a kind of cooker and a symbol of power and status. This device is the only Fang Ding with human face as the main decoration found at present. The belly is surrounded by high relief faces. Although the size is different, the facial features and facial expressions are the same. It can be seen that the technology of the foundry is very good. Maybe he mastered the technology of zooming in and out at that time. The face is realistic and solemn, giving people a solemn and mysterious feeling. This may be a portrait of Shang people in southern China more than 3000 years ago. They have hooks and horns in their ears and claws under them. Some people think that this is the image of "tāotiè" in ancient literature. The words "Dahe" are cast on the inner wall of the tripod. The word "He" is like the plant image of millet when heading, combined with the human face image of the wall, some scholars think it is a memorial to sacrifice and pray for a bumper harvest of grain. This Fang Ding is the treasure of Hunan Provincial Museum, and its logo is designed accordingly.
The Symbol of chinese heritage —— Golden Ornament of Sun God Bird
The golden ornaments of the sun god bird were unearthed at Jinsha site in Chengdu, belonging to the late Shang Dynasty. The pattern is hollow and divided into two layers: an inner layer and an outer layer, and twelve rotating toothed lamps are distributed around the inner layer at equal intervals; The outer layer consists of four birds flying counterclockwise. The four birds' heads and feet meet and fly in the same direction, which is opposite to the rotation direction of the inner vortex. The four birds in the outer layer not only represent the negative days of the four birds, but also represent the cycle of the four seasons. The inner layer of 12 awns represents a cycle of twelve months a year. It is the material evidence that the ancient Shu people worship the sun, and it also shows that the ancient Shu people have mastered the concepts of year, time and month and their causes. The pattern of Sun God Bird expresses the spiritual meaning of pursuing light, forging ahead in unity, harmony and tolerance, with rigorous composition, smooth lines and rich aesthetic feeling.
Witness of logging in Zhou Wuwang-copper mine profits.
Copper Li Chan unearthed in Lintong, Shaanxi Province. Among many fine bronzes, "Li Chan" unearthed in Lintong, Shaanxi Province is the earliest bronze ware of the Western Zhou Dynasty, and it is also the only precious historical material in the bronze inscriptions in the early years of the Western Zhou Dynasty that describes the logging of Wu Wang. There are 4 lines and 32 words cast on the belly bottom, which means that the king of Wu cut the merchants, and the morning star of Jiazi is just in its place, which is suitable for conquering; Eight days after the defeat of Shang Dynasty, the King of Wu presented precious metal copper to the hero Li at the military station, and Li cast precious stones with copper as a souvenir. The inscription says that the time for King Wu to cut merchants is Jiazi Day; It also reflects that the relevant personnel were rewarded from the eighth day after the war, indicating that the war did not last long. These are consistent with the documents Shang Shu Mu Shi and Yi Zhou Shu Tian Xia Prison, which contain the documents of Zhou Wuwang's conquering king on Jiazi Day. It was one of the utensils that determined the king of Wu to cut the merchants in Xia, Shang and Zhou Dynasties.
path to god
T-shaped silk painting
1972, an uncorrupted female corpse of Han Dynasty was unearthed from Mawangdui Han Tomb in Changsha, Hunan Province. This is a flag used at the funeral ceremony of the owner of the tomb, Xin Zhui. It is used to express the spirit evocation and burial after guidance, and it is also called "non-service". The content depicted in the picture can be divided into three parts from top to bottom: sky, ground and underground. In the sky, there are some myths and legends about heaven, such as plesiosaur, the sun, toads and jade rabbits, and Chang 'e who flew to the moon. The sun refers to the sun, and the so-called "the sun first came to the bottom of the sea, and Zhu Hui scattered the clouds" means this; In the human part, Xin Zhui, the owner of the tomb, accompanied by three ladies-in-waiting, is on his way to heaven, and his family prays for the sacrificial scene of the deceased's soul ascending to heaven; The underground part is painted with mythical octopus and exotic animals that protect the souls of the dead. Silk paintings systematically show the cosmic picture in people's ideas in the early Han Dynasty. Its theme is generally considered as "evoking the soul to heaven", but some people think that it is "evoking the soul to revive the spirit" that makes the dead settle down.
Jin Yu Yi, the highest standard burial suit in Han Dynasty
This golden jade garment was unearthed in the tomb of the king of Chu in Shizishan, Xuzhou, Jiangsu Province. It is the jade garment with the earliest age, the largest number of jade articles, the best jade quality and the most refined craftsmanship. They are all made of white jade and sapphire from Hotan, Xinjiang, including headgear, chest, back, left and right sleeves, left and right trouser legs, left and right gloves and left and right foot covers. * * * 4,248 pieces of jade pieces and gold thread1.576g are used, which needs 6,543.8+10,000 people to complete. According to the funeral system of Han Dynasty, jade clothes are necessary funeral supplies, because Han people believe that jade can keep the body immortal. However, only the emperor can use the golden jade clothes. The owner of this jade clothes is Liu Yingke, the son of Liu Jiao, the second generation king of Chu, and the younger brother of Liu Bang, the emperor gaozu. Liu Jiao was deeply loved by Liu Bang and Liu Heng, the son of Emperor China, which made his son more expensive than the prince. Therefore, Liu Yingke can wear gold and jade clothes when he dies. At the same time, it also shows that the use of jade clothes symbolizing status and rank did not form a strict system in the Western Han Dynasty.
Dream of wealth-copper cash cow
Copper cash cow unearthed from Han Tomb No.2 Hejiashan, Mianyang City, Sichuan Province. The whole structure is composed of 29 parts, including base, trunk and crown. A copper tube is the main stem, inserted in a pottery base with a relief azure and evil spirits. There are five groups of branches and leaves inserted in the trunk sleeve. At the top of the tree, a man is putting the immortal "magic pill" pounded by the jade rabbit into the sparrow's mouth. The branches are covered with copper coins, and the leaves are decorated with fairy tales of the Queen Mother and the image of acrobats. The leaves are swaying and covered with copper coins. It seems that as long as the trunk is shaken, the copper coins will fall, hence the name "cash cow". Cash cows are often unearthed in tombs of the Eastern Han Dynasty. People hang copper coins on trees to create fairy tales, hoping that they can "blossom and bear fruit" like fruits and live forever like immortals. "There is a fountain of wine in the earth, and all the trees in the forest shake money." The cash cow buried in the tomb expresses the Han people's desire for wealth.
It is worth mentioning that after the 5. 12 Wenchuan earthquake, the cultural relics workers in Mianyang, the hardest hit area, rushed to rescue cultural relics regardless of their personal and property losses. Just before the aftershocks stopped, this cash cow of the Eastern Han Dynasty came to Beijing, which reflected the strong support of the Sichuan people for the Beijing Olympic Games.
The Perfect Combination of Practicality and Art —— Gold, Silver and Ox-shaped Interlaced Copper Lamps
The bronze lanterns painted with wild geese and fish in the Han Dynasty are similar to the bronze lanterns with staggered gold, silver and ox shapes. Their animal image is partly a water storage container. The lampshade collects the smoke generated when the lamp is lit, and introduces the smoke into the water through the elbow to absorb it, thus avoiding indoor air pollution. Their reasonable smoke exhaust design embodies the creative idea of China ancient people living in harmony with nature. In Europe, it was not until the15th century that this smoke-removing design appeared in Da Vinci's design manuscript. By the Han dynasty, this kind of lamp was widely used, and archaeological discoveries were made in Guangxi, Hunan and Hebei. The famous "Changxin Palace Lantern" in Hebei Provincial Museum is also made according to the same design principle.
A comedian two thousand years ago.
Drumming and rap pottery figurines
Two thousand years ago, the "drum rap pottery figurines" showed the life of the prosperous times from one side. Folk rap performances were very popular in the Han Dynasty. This songkhla terracotta warrior is shirtless and barefoot, playing drums in his left arm and holding a mallet in his right hand. Humor and exaggeration. It is an excellent sculpture with strong folk flavor and local style. This kind of rap art was called "Nuo You" in the Han Dynasty, and historical records recorded: "Drumming and singing, making Nuo You". "Han Sima Xiangru Biography" Yan Shigu Note: "He is also a player who advocates fun (xiá)." In the Han dynasty, short and fat dwarfs were often used as performers. Although the pottery figurines are hand-shaped, their expressions are vivid and vivid. As if coming from the dust of history 2000 years ago, it brought us the smiles and sounds of the Han Dynasty, which made people laugh and forget it.
Affection is lingering, and people fall in love with God-silk printing. Gu Kaizhi's "Luo Shen Fu Tu" (copy)
Luo Shen Fu is a famous painting by Gu Kaizhi, a famous painter in the Eastern Jin Dynasty (the exhibits are copied in the Song Dynasty). It is a touching story about Cao Zhi's masterpiece "Ode to Luoshen", a famous writer in the Three Kingdoms period. It describes that Cao Zhi fell in love with Luoshen Fu when they met in Luoshui, and finally separated because of the separation of man and god. The original name of Luoshen Fu is Ganzi Fu, and it is generally believed that Cao Zhi wrote it because of Ren Zhencheng. Also known as Gan Zhenfu and Zhen Zhu Tong, some people think that his writing involves the complex relationship between Cao Zhi and Zhen Shi, the wife of Wei Wendi Cao Pi.
This painting fully shows the contents of the romantic literary work "Ode to the Goddess of Luo" with concrete and vivid images, which reflects the new development of China's painting in this period. The line drawing of figure painting in the picture is like "Silkworm Spinning Silk", and later people call this technique "Gao Gu You Si Miao", which is one of the 18 descriptions of figure painting techniques and has a great influence on the line drawing art of later Chinese paintings.
The best running script in the world
Silk Edition of Wang Xizhi's Preface to Lanting (Transcript)
Preface to Lanting Collection is a preface to their poems written by Wang Xizhi (32 1 ~ 379), a great calligrapher in the 9th year of Yonghe in the Eastern Jin Dynasty (AD 353). ***28 lines, 324 words, perfect composition, structure and brushwork, is his masterpiece at that time. Later generations commented that "the font of the right army has changed. Its heroic spirit is natural, so it is considered to be a model from ancient times to the present. " Therefore, calligraphers of all ages regarded Lanting as "the first running script".
Preface to Lanting shows the highest realm of Wang Xizhi's calligraphy art, and the author's tolerance, phoenix spirit, mind and feelings are fully displayed in this work. The ancients said that Wang Xizhi's cursive script is like "the breeze comes out of the sleeve and the next month comes into my arms", which is a wonderful metaphor. Unfortunately, it was buried in Zhaoling as a sacrificial object by Emperor Taizong, and the original work will never be seen in the world. The Preface to Lanting Collection, which is now circulated in the world, is a copy of the Tang Dynasty. Because this volume of Preface to the Lanting Pavilion in the Tang Dynasty is made of silk, which is old and brown, but its brushwork, pen and ink, style and charm are all reflected, and it is an extremely precious manuscript.
A rare multi-line ink book.
Paper Edition of Ou Yangxun's Dream Book Sticker
The Canon of Dreams ***9 lines and 78 words, which is about historical events, was written by Ou Yangxun (557 ~ 64 1), a famous calligrapher in the Tang Dynasty. "Dream of a Dean Tie" retains the "Shaoxing Dress" of the Southern Song Dynasty, followed by the postscript of Guo Tianxi and Zhao Mengfu of the Yuan Dynasty, which clarified that this tie was consistent with other European books at that time. Guo Tianxi said, "This is vigorous and vigorous, as dense as an armory. When I look back, I will get the ethos of two kings, and I will be the first book in Europe." This post is written in light ink, but it is not heavy. It is a scribble, rotating freely, error-free and stagnant, with clear upper and lower veins, stable and solid structure, steady brushwork, smooth charm, round body, charming and vigorous. It was written by Ou Yangxun in his later years. Ou Yangxun, together with Yu Shinan, Chu Suiliang and Xue Qi, were called the four masters in the early Tang Dynasty. This post is a classic for everyone.
The plain is vast, showing rivers and mountains.
Color-coded Silk Edition Dong Yuan's Summer Scenery Mountain Pass Waiting for Crossing (Volume)
There is no money to cross the photos of Xiajing Mountain Pass. Dong Qichang quoted the first title "The Original Map of Xiajing Mountain Pass to be Climbed in Northeast Garden" before the volume, and there were inscriptions by Yuan Ke Jiusi and Yu Ji after the volume. Collected in the Palace of Song and Yuan Dynasties. Into the Qing dynasty, earned by Geng Huihou, transferred to the Qing dynasty collection. All clocks have identification and hidden marks. It is recorded in books such as Xuanhe Painting Spectrum and Shiqu Baodi. All previous dynasties are regarded as the works of Dong Yuan, a famous painter of the Five Dynasties.
The picture depicts the summer scenery of Jiangnan Ferry. The books opened here are flat sand and shallow shore, rivers flowing, ships coming and going, overlapping mountains, villages slightly exposed in the jungle, winding tail extending the sand shore, weeping willows in rows, and people waiting to cross the shore, showing a vast river view. The whole volume shows mountains and rivers and trees with horses and ink dots. The painting method is basically the same as Xiaoxiang map, and the size and texture seem to be related to Xiaoxiang map. Therefore, some scholars think that the two pictures are one, which are two paragraphs in Dong Yuan's "Hebo Marries a Girl". The composition of the picture is far-reaching, and in the plain and simple reality, it is "full of mountains and rivers", with elegant colors and artistic appeal.