趙孟頫書畫精品回家鄉(xiāng)

歷經(jīng)700年的滄桑歲月，一代書畫大師趙孟頫書畫珍品，于今年金秋9月回到他的故鄉(xiāng)湖州展出。

這次由故宮博物院、上海博物館、遼寧博物館、浙江省博物館和湖州博物館館藏真跡39幅書畫原作匯聚而成的《歸去來兮——趙孟頫書畫真跡回家展》，氣勢(shì)恢宏，光彩奪目。這些書畫作品大都是國寶級(jí)精品，為建國后祖國大陸趙孟頫作品的“數(shù)量最多、規(guī)模最大、規(guī)格最高”的首次集中展示，稱得上是中華文化的一次盛宴，非同凡響。這些曠世墨寶在湖州博物館集中“亮相”，迎來了大批海內(nèi)外人士的前往參觀，成了湖州市今年國慶黃金周的一大亮點(diǎn)。

趙孟頫(1254～1322)，字子昂，號(hào)松雪道人、水晶宮道人，浙江吳興(湖州人)，為趙宋王室后裔、元代著名書畫大家，趙孟頫集詩、書、畫、印之大成，開啟了元代中國文人畫的先河，對(duì)元、明、清及近代中國書畫具有深遠(yuǎn)影響。世界天文組織把太陽系水星上的一座環(huán)形山，命名為“趙孟頫山”以志紀(jì)念。

素有“文化之邦”美稱的浙江湖州市，書畫史上涌現(xiàn)了趙孟頫、錢選、吳昌碩等一批開宗立派的大師級(jí)人物，因而有湖州人寫就“半部書畫史”之說。趙孟頫天資極高，博學(xué)多才，他“借古開今”，又身歷五朝官至一品。由于他勤勉的實(shí)踐、豐富的閱歷以及廣泛的交游，成就了他的書畫造詣，成為一代文人畫的領(lǐng)軍人物，元代四大家黃公望、吳鎮(zhèn)、王蒙和倪瓚，都在他的畫學(xué)理論支持下進(jìn)行畫風(fēng)變革與創(chuàng)造。更讓人稱道的是，趙氏一門才俊云集，趙孟頫妻子管道升、兒子趙雍、外孫王蒙(即元四家之一)、孫子趙麟都是著名書畫家；他的學(xué)生黃公望 、陳琳、王淵、唐棣以及再傳弟子盛懋，都以他的藝術(shù)風(fēng)格為宗尚，蔚然形成吳興繪畫風(fēng)氣綿延影響到明、清兩代直至民國和當(dāng)代。

這次展覽由浙江省文物局和浙江省湖州市人民政府精心操作，湖州文物局、博物館具體落實(shí)，并得到故宮博物院、上海博物館、遼寧省博物館、浙江省博物館等鼎力支持，因而這次展覽辦得有聲有色，精彩紛呈。剛落成的湖州博物館為這次展覽營造了良好的展覽環(huán)境，為了保護(hù)國寶，光營造昏暗的光線和恒溫恒濕空間，就投入350萬元。

這次展出的“歸去來兮”主題也十分鮮明，上海博物館、遼寧省博物館和湖州博物館的三件《歸去來辭》手卷各具光彩，實(shí)現(xiàn)了大師“回家”這一主題。本次展出的《秋郊飲馬圖》，系趙孟頫存世作品中唯一一幅有其供職內(nèi)廷期間年款的畫跡，取法唐人遺韻，青綠設(shè)色而兼具文人儒雅氣息，具有很高的歷史和藝術(shù)價(jià)值；《行書洛神賦卷》是趙孟頫同類行書中最精彩的一幅，代表了趙孟頫行書的最高水平；《水村圖卷》《吳興清遠(yuǎn)圖卷》等，都是首次走出庫房與大眾見面。作為一個(gè)湖州人，趙孟頫在33歲前長期潛居家鄉(xiāng)讀書、創(chuàng)作，對(duì)家鄉(xiāng)傾注了巨大的熱情，《吳興賦卷》《吳興清遠(yuǎn)圖卷》《北村圖卷》等都是讓湖州山水聞達(dá)于世人的杰作，它們?cè)诩亦l(xiāng)的殿堂中默默地訴說著趙孟頫的家鄉(xiāng)情愫。更為這次展出增光添彩的，是這次展品中大都為長卷，內(nèi)有大量元及元之后歷代著名書畫家的題跋，其中有文徵明、董其昌等大家和乾隆御書“清華”等曠世墨寶。

為配合此次大展，浙江省湖州市人民政府與中國美術(shù)學(xué)院還聯(lián)合舉辦了“趙孟頫國際學(xué)術(shù)研討會(huì)”，來自日本、韓國和香港、澳門及國內(nèi)各大藝術(shù)院校和博物館的相關(guān)研究專家以及中國美術(shù)學(xué)院的各國留學(xué)生，就趙孟頫的生平及書畫藝術(shù)成就展開了高層次的學(xué)術(shù)研討。

相關(guān)評(píng)論摘編

趙孟頫是湖州走出去的、對(duì)世界影響最大的湖州人，趙孟頫的家鄉(xiāng)情結(jié)也堪稱曠世稀有。這位曾經(jīng)的趙宋王朝的王孫，卻成了蒙元帝國的重臣；他既是當(dāng)時(shí)漢族文化的代表，卻又是最受蒙元皇帝器重的漢人；他是迷戀江南文化氛圍的文人畫家，卻要無奈地長期漂泊北方官場——也許正是這種矛盾與復(fù)雜，歷練他成長為元代的文壇領(lǐng)袖、美術(shù)大家，也正是這種矛盾中充滿自責(zé)的心境使得故國家園成了他慰藉心情、浸淫靈魂的理想港灣，歸隱、思鄉(xiāng)是他相伴一生的心結(jié)。 (中共湖州市委書記、湖州市人大常委會(huì)主任孫文友)

我輩欣逢趙孟頫所贊美、所期望的清平盛世，天下一家，猶以披覽古先賢之法書寶繪，最得四方響應(yīng)。北京故宮博物院、上海博物館、遼寧省博物館為國內(nèi)文博界的庋藏重鎮(zhèn)，皆慷慨施以援手；浙江省博物館所奉上之《吳興賦卷》，湖州市博物館出以新近獲藏之《歸去來辭卷》，亦最見鄉(xiāng)梓情深。 (浙江省文物局局長鮑賢倫)

趙孟頫是元代文人畫的開創(chuàng)者和推動(dòng)者，是元代最負(fù)盛名的書畫家之一。他托古改制，師法晉唐五代和北宋，主張書畫創(chuàng)作要有“古意”、“士氣”，倡導(dǎo)“書畫同源”，注重師法自然，從而奠定了元代文人畫的理論基礎(chǔ)。同時(shí)，他博采眾家之長，大膽實(shí)踐，在詩文、繪畫、書法、音樂等領(lǐng)域擁有全面才識(shí)，而尤以書畫方面成就最為突出，為一代之冠。(文化部副部長、故宮博物院院長鄭欣淼)

趙孟頫是元代著名的書畫大家。他不但兼擅真、隸、草、篆、行各體書法，而且繪畫創(chuàng)作的范圍也相當(dāng)廣泛，既有人馬、山水、花鳥、竹石諸門畫科，又兼用重彩青綠、淺色寫意或者純水墨技法。他提出“書畫本同”，上接歷代“書畫同源”的傳統(tǒng)，并倡導(dǎo)“以書入畫”，以書法性用筆來表現(xiàn)個(gè)人的性情；他提出著名的“古意論”，其實(shí)質(zhì)是重溫晉唐意趣、開創(chuàng)時(shí)代新風(fēng)的“借古開今”。 (上海博物館館長陳燮君)

遼寧省博物館由于歷史的機(jī)緣，收藏了清宮散佚古代書畫精品，其中趙孟頫的書畫作品達(dá)七件之多，此次有六件作品出展，均為趙孟頫中年(50歲)以后成熟時(shí)期作品，代表了其法度謹(jǐn)嚴(yán)、雋秀雅逸的典型風(fēng)格。《紅衣西域僧圖卷》是趙孟頫50歲時(shí)所作的人物畫作品，筆墨精致，氣韻古雅，所畫題材為趙氏人物畫所少見，代表了其盛年時(shí)期人物畫的風(fēng)格與成就。 (遼寧省博物館館長馬寶杰)

Masterpieces on Display at Artist's Hometown

By Cheng Fang

In September 2007， an exhibition was held in memory of Zhao Mengfu (1254-1322)， in Huzhou， Zhejiang Province， the hometown of the leading artist of the Yuan Dynasty (1271-1368).

Zhao Mengfu was a descendent of the royal family of the Song Dynasty which toppled when the Mongols invaded China in the 13th century. He served the new dynasty as an important court official. The new rulers held him in high regard. As an artist， Zhao was and is celebrated for his accomplishments in poetry， calligraphy， epigraphy and painting. Most importantly he introduced a scholarly charisma into landscape painting， exerting a huge impact on artists one generation after another. His strong influence has lasted through the dynasties of the Yuan， Ming and Qing up to modern times. The people of Huzhou think of Zhao Mengfu as the best known Huzhou local in the world. Their pride is firmly corroborated by the fact that a crater on the Mercury is named after this accomplished Chinese artist.

On display at the exhibition were 39 original artworks by Zhao， contributed by the National Palace Museum， Beijing， Shanghai Museum， Liaoning Museum， Zhejiang Museum and Huzhou Museum. Most of the masterpieces on display were rated as national treasures. No exhibition since 1949 had so ceremoniously displayed so many of Zhao's artworks. The milestone exhibition attracted a lot of people.

It is no accident that Zhao came from Huzhou， for the legendary land of rice and fish was also famed for its wealth of culture and art in history. Zhao Mengfu， Qian Xuan and Wu Changshuo of Huzhou were innovative artists who made breakthroughs in their creative practices and ushered in new styles in painting and calligraphy. This explains a phenomenon art historians have long since defined: half of the Chinese history of painting and calligraphy is about masters from Huzhou.

Zhao was a talented and erudite artist. His gradual rising to a top-ranking official in his long political career during the reigns of five emperors of the Yuan dynasty helped him attain rich experiences and make friends with a lot of people. As an artist， Zhao came up with insightful theories on art. His ideas pointed new directions for himself and inspired his disciples. The master and disciples made stylistic innovations and successful breakthroughs and became most accomplished artists of the dynasty. With their immortal artworks， they combined to exert a lasting influence on artists in subsequent dynasties.

Most appropriately， the theme of the exhibition was \"Homecoming\". Zhao was from Huzhou and he devoted himself to studies of art and education at home before he was thirty-three. His paintings of that time interpret local landscape fascinatingly. Of the 39 artworks on display at the exhibition were three calligraphic handwritings of Going Home by Tao Yuanming (c.365-427). Going Home is arguably one of the greatest essays in Chinese history by a writer who thought serving as a government official was humiliating and meaningless and yearned for a life of farming and abandoning himself to wine and poetry. The three handwritings in the running script indicate what Zhao thought about himself， his hometown， and his service for the Mongols.

An international seminar was simultaneously held. Participants included scholars from Japan， Korea， Hong Kong and Macao， experts and researchers from universities and museums across the country， and foreign students from China Academy of Art. Their discussions focused on Zhao's life and his artistic accomplishments.

(Translated by David)