Statium | Tradition and contemporary hug, from signals from the Forbidden City

Author: Luo Yi curator, consultant of art museums

The three -year -old Palace Museum "Seeing the Heart of Heaven and Earth — the Instantness and Elephant of Chinese Studies" opened. The Forbidden City specially gave six contemporary artists Bai Ming, Liu Dan, Tang Mingxiu, Xu Bing, Xu Ying, Zhang Yonghe's selection and study of all category cultural relics, and invited them to create a year of creation for this exhibition.

"Study Room" has become "the key to multiple opening"

This is the largest scale in the history of the Forbidden City to exhibit Chinese contemporary art and ancient cultural relics and calligraphy -although such a conversation is not uncommon in the top international museums, although such a conversation is only based on east -west geese wings buildings. It did not happen in the main hall of Wumen, but for the Chinese cultural world in China, the previous occasional temptation (the initiator was a cooperation with the Forbidden City in 1996 with the Cartier Contemporary Art Foundation. -The work "Pot Doré" by Jean -Pierre Raynaud can not be compared with the in -depth, indicator, and milestone of the "crossing". The 600 -year -old Forbidden City is trying to show the world's young appearance and openness to the world in this way, showing the Chinese people from ancient times to the present, the world, and life. Inheritance, blending and future.

The Forbidden City chose "study room" as the key to "multiple opening", and also chose "study room" to open the same door between traditional Chinese culture and contemporary Chinese culture. China's study culture can be traced back to the Han and Tang dynasties. Since ancient times, the study has been a space for Chinese literati doctors to cultivate, treat others, and pin leisurely. It is a place that reflects the Chinese lifestyle, cultural identity, knowledge capital, spiritual pursuit and value concept. Thought and aesthetic system. I understand my understanding of the study of the study: "body", "Tao" and "heart". As the contemporary artists participating in the exhibition integrate the rhythm of the exhibition, listen to this dialogue that spans time, and consciously "qi pulse", like "swimming and la with" "," Entertainment of the audiovisual, Coca -Cola also. "

"Body", "Tao", "Heart" in the study

The study is living. Since ancient times, every "great god" has a famous study (or symbolic space). Retreat to the hidden relaxation and be alone. Before inviting the artist to create this time, the Forbidden City arranged for their study of the study house tired after the retirement of Qianlong. This visit also made Xu tired of the space nested method (similar to the "dreaming space") in "The Back Screen of the World"), and the global dialogue was expanded in the picture in a "visual comparative learning" way. Essence Also inspired by this visual trap and falsehood, Zhang Yonghe's "Qi Mirror" created in the Chonglou exhibition hall composed of Tongjing painting and glass paintings took us to the study room of Yongzheng. VR watching makes the boundary between the plane and the three -dimensional space more vague. "The visitors edited and performed.

Study rooms. At the beginning of the exhibition, the "Five Classic Extraction Room" is exhibited from Dongyan Wing Tower. "Poetry Books and Easy Spring and Autumn" related books, Xu Bing's "Tianshu: Dignity of Text" - Relators. Once this 35 -year exhibition, the contemporary classic of the world was sensational and patrolled the world. With the attitude of "refusing to read", it has been continuously conveying the atmosphere of civilization to us. Xu Bing said: "The text is very core. Touching of the text is the most basic touch of the concept of human cultural concepts." I understand the arrangement of this curation as the way of tradition and contemporary. The Tao is invisible, and the instrument is tangible. In the "Four Treasures of the Temple" and "Literary Reward" unit of the Dongyan Wing Tower exhibition hall, the lacquerware pen holders created by Tang Mingxiu were independent of the world of Ru, Brother, Long, Jun, and Ding Ding. Seeing Wen Mo Ruyu, deepened the study of the study of the study of "Tao as the Tao, the Tao in the device".

The study is swimming. The climax of the exhibition hall of the Meridian main hall is the "Looking at the Universe" unit, exhibiting three works of Chinese landscape paintings: the masterpiece of the Northern Song Dynasty Guo Xi's "Shi Shi Ping Yuan Tu"; "; Chinese landscape paintings collected the masterpieces of Dacheng, Shi Tao's" Searching for Draft "by Shi Tao in the late Ming and early Qing dynasties. The landscape is the universe. The history of Chinese landscape painting is the constructive history of the Chinese cosmic view, concept of nature, and values, and the pulse of Chinese culture. Taking landscapes as the media, the study is the view of the universe of heaven and earth, and the natural revelation is the soul of the study. The work of Tang Mingxiu's big paint "Beyond the Fang" came out of such a landscape scroll. Tang Mingxiu's lacquer art has been imitated in Western oil painting since he was young, and later found value from traditional culture. Chinese landscape paintings are expensive, and tangible is more invisible. Liu Dan's brush made him a psychiatr who crossed the ancient and modern culture of China and the West. The exhibited work "Feng Yi Wei Xiang" is "rebuilding a new order other than the image of the landscape painting." The development of Chinese contemporary art for more than 40 years has been often criticized by "westernization". When the contemporary works of different media of Liu Tang, the contemporary works of different media of Mr. Liu Tang came from the Chinese landscape painting and met the three peaks of the history of Chinese calligraphy and painting. One by one.

Consciously embrace tradition with more eager culture

The study is still the source of thought. Xu Bing's "Land Book: Lanting Collection Preface" ended as the end, carrying the review and understanding of today's art creators, and also emphasized the significance of the cultural relics of the Forbidden City with contemporary art. Since the Tang Dynasty, the body has become the most popular and most standard strokes. After a thousand years, does Xu Bingdi ’s expression (emoji) may become the most popular font? "Babelta" of different cultures may be overturned under the unity of pictographs? Just as the coefficient of the entire exhibition is presented -when today's creative inspiration and roots are directly from the Forbidden City, and the inheritance and incense cultural system from the "study room" is also active. After each other, the Forbidden City has opened a study for the world's multiple. This gives her 600 years of richer reading dimension and has more possibilities. The "Market · Scrolls" created by the artist Bai Ming just stepped on the path of self -refining the update of the Forbidden City. The work melts the book materials, ceramic materials, and firing methods recorded in history in one furnace. "Different understanding of fire gives these scroll life so that they have gone from ancient times to today."

This forging process is the way to diversify and embrace the future of the Chinese Museum led by the Forbidden City. In the last century, the museum industry began the discussion and practice of shifting from "centered on collections" to "audience -centered". The Forbidden City puts contemporary art with traditional classics, and it collides with a novelty in terms of visual impact, interactive experience, and culture. With contemporary art as a mirror, the cultural relics have a close "interface", which inspires the audience's richer feeling.

The annual theme of the two International Museum Days before the outbreak of the International Bo Dynasty ICOM (2019 is the Museum of Museum as a Cultural Center: a traditional future ", and 2020 is" Museum dedicated to equality: multiple and tolerance "). The deep meaning behind the movement of the Forbidden City: How does traditional culture be discovered, recognized, deepened, and farther -how the museum re -gives traditional value; how contemporary culture is included in the traditional root, rooting, rooting Go to absorb, grow, and get the vitality of the future -how the museum guide contemporary intelligence production; in this process, the museum moves from a single "authoritative temple" to a diverse public platform, leaving people more discussions and imagination The space for thinking and exploring, and therefore closer to people and cities — to embrace tradition with a more eager cultural consciousness, and therefore generate the opportunity to re -discover themselves. Humanistic care is deepened to history, linking unknown, freedom and infinite possibilities.

"Come back, the countryside will not return Wuhu?" More than a thousand years ago, Tao Yuanming, the scholar of the hidden scholar, chanted the iconic slogan of Chinese study culture. Today, this call is even more urgent to contemporary people who are trapped in chaos and the epidemic in the city. On the way to find a spiritual home, he returned to rebuilding the study, and looked forward to finding his roots on this road. The Palace Museum exhibition will shine study rooms in the historical mirror in the study of the study in the dust of the times. I hope that we can also be more open and diverse in the future.

Source | Jingbao APP

Edit: Chen Jianguo

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