展览介绍

经验与策略——2019第七届“艺术长沙”

2019年12月7日下午14时，经验与策略——2019第七届“艺术长沙”将在湖南省博物馆一楼艺术大厅隆重开幕。 湖南省博物馆自2007年以来连续参与举办了六届“艺术长沙”，今年即将迎来第七届“艺术长沙”，这在中国大型博物馆中可说是一个“非典型性”的文化景观。21世纪的博物馆，身处观念和技术变革的大潮，其功能与使命开始发生重大变化，作为文化中枢的地位正得到不断强调。无论是从时间还是空间的维度来看，博物馆都不再仅仅是“收藏历史”，而是增加了连接现实与未来世界的价值趋向。因此，举办当代艺术展实质上也是一种对博物馆功能、工作边界及其与当代社会关系的探索。本次展览策划从学术与艺术高度结合的定位出发，表面上反映的是历史文物与当代艺术品互为“矛盾”的场域，实质上是探索性的以博物馆承载的厚重历史为基点，探寻时空历史与当代艺术的深刻对话，践行让文物“活起来”、让艺术“融进来”、让观众“走进来”的新策展理念，从而有助于促进文化自信，提升公众文化艺术素养，不断满足人民日益增长的美好生活需要！
本次十位参展艺术家的作品，不但带有艺术家强烈的个人符号化或图示化语言特征，在创作观念、材料、方法等方面差异性也极大，而且还将于湖南省博物馆、长沙市博物馆、谭国斌当代艺术博物馆三个展区同时集中亮相。如何以一种内在的逻辑将三个分展区联系起来，甚至用一个统一的“标题”来赋予它相对完整的外在表达，几乎是一个“不可能完成”的任务。但是，通过与参展艺术家和分展区策展人的讨论、交流，再加上深入艺术家工作室，有机会近距离地观察、感受他们思考创作的苦心孤诣之处，策展人好像又看到了10个艺术家鲜明个性里面隐含的某些共性，以及艺术家各自“曲径通幽”背后所显现出来的中国当代艺术发展的一种新趋势。策展人试图用“经验与策略”这一词语来概括这种个人感受，可算是本届“艺术长沙”的主题。当然，所谓的“经验与策略”并不是一个通常意义上的展览主题，它本身并没有什么具体或确切意义所指，而是试图揭示当代艺术目前的一种发展趋向及其在方法论上的意义，由此提出一个供大家讨论的话题。
经验与策略——2019第七届“艺术长沙”共分三个展区，采用十个个展的形式，全面呈现和深度梳理了包括罗中立、段建伟、杨茂源、何岸、梁远苇、李津、刘庆和、武艺、王迈、傅瑶在内的十位艺术家的精彩作品。
本展览免费向公众开放。
展出日期：2019年12月7日—2020年2月6日
开放时间：每周二至周日9:00—17:00

展览介绍

千年遗墨——中国历代简帛书法展

书于竹帛，对今人而言是新鲜而陌生的事，我们认识它始于20世纪初的考古发现，但在纸张普及以前却是书手的日常。从已出土的简帛来看，时段跨越战国至魏晋近千年，这一时期恰恰是原有书法体系因墨迹缺失而选用金文、碑刻等代替的时段。清代碑学将“金石气”纳入到书法的审美体系，且不论功过，它对当下的习书者从审美趣味到对于范本的选择，依然发生着深刻的影响。

而现在面对数量巨大、风格多样的简帛书法墨迹，我们看到了改写书法史的可能。它真实记载了书手的书写习惯、书写轨迹，不同时代的审美趣味、不同地域的风俗、不同的书写工具和方式都影响着书写的效果。已有的书法理论体系已很难诠释简帛书法中字体演变的复杂性、章法布局的时代特征，我们只有抛开传统认知，不抱任何意见地沉浸其中，才能感受简帛书法的美。

本展览旨在尽可能还原简帛书法本身的多样性、丰富性，勾勒战国至魏晋时期简帛书法的大致发展历程，开启中国书法艺术新的思考。

鄢福初

展期：2019/11/10 - 2019/11/30

地点：湖南省博物馆一楼特展二厅

票价：免费

展览介绍

新时代的中国：创新湖南 融入世界——新中国成立70周年湖南发展成就专题展

　　“创新湖南 融入世界——新中国成立70周年湖南发展成就专题展”是9月12日外交部湖南全球推介活动的主题展览。
　　习近平总书记对湖南工作高度重视、倾注深情、寄予厚望。党的十八大以后，两次来湖南考察，提出了“一带一部”“精准扶贫”“三个着力”“守护好一江碧水”等重要指示要求，为推动湖南各项事业发展明确了方向路径、提供了根本遵循。新中国成立70年来，湖南GDP比建国初增长162倍，达5245亿美元，居全国第八位。2013年11月，习近平总书记到湖南考察时，明确了湖南“作为中国东部沿海地区和中西部地区过渡带、长江开放经济带和沿海开放经济带结合部”的战略定位，凸显了湖南的区位优势，开辟了广阔的发展前景。
　　智能制造，是湖南高质量发展的核心动力。省会长沙拥有三一重工、中联重科、铁建重工、山河智能等4家世界工程机械50强企业，正努力打造成为世界工程机械之都。三一重工机械参与智利矿难、日本福岛核电站救援，获得世界的称赞。湖南轨道交通也是首屈一指、世界有名的。电力机车、新能源汽车和中小航空发动机，已在世界舞台飞驰。长沙岳麓山国家大学科技城，为湖南智造提供了强大的人才智力支撑，创造出许多惊艳世界的前沿科技。
　　湖南虽地处中国内陆，但一直积极参与共建“一带一路”，1500多家湖南企业走进92个国家和地区，参与建设12个中国境外经贸合作园区，承建了大批海外合作项目。今年在长沙成功举办的中非经贸博览会，成为永不落幕的中非贸易交流平台。同时，湖南积极开展国际友好交流，国际朋友圈越来越在，目前已与35个国家90个城市结为友好城市，家毫书记亲自推动建成的中国旅法勤工俭学蒙达尔纪纪念馆，成为中法文化交流的重要平台。湖南援非医疗队是帮助非洲人民抗击埃博拉病毒的重要力量。
湖南水系资源丰富，森林覆盖率达59.82%，位居全国前列。近年来，湖南大力实施湘江和洞庭湖的保护和治理工程，致力乡村振兴，取得显著成效，湖南已成为全国最宜居、最具幸福感的省份之一。
　　湖南名山大川风景独好，中华五岳之一的南岳衡山，世界自然遗产新宁崀山，世界灌溉工程遗产娄底紫鹊界梯田、国家地质公园古丈红石林，湘江的源流潇水河风光秀美。
　　湖南历史悠久。这里有距今6500多年中国“最早的城市”常德澧县城头山古文化遗址，有世界文化遗产湘西永顺老司城遗址，有长沙、岳阳、永州以及凤凰古城4座国家历史文化名城。
　　湖南人杰地灵，近代涌现出许多影响深远的历史人物，如中国近代“睁眼看世界第一人”魏源、近代首位驻外使节郭嵩焘，近代洋务运动的发起者和实践者曾国藩、左宗棠，近代民主革命元勋黄兴、蔡锷等，形成了湖南人“吃得苦、霸得蛮、扎硬寨、打硬仗”的特性。
　　湖南有56个民族，非常注重文化传承。打造了“炎帝陵祭典”、纪念屈原的“端午国际龙舟节”、醴陵世界陶瓷艺术城。少数民族侗族大戊梁歌会、《魅力湘西》演艺在全国都有很大影响。这里特别介绍的是湖南的一张名片——浏阳烟花。浏阳烟花绚烂全世界的夜空。我们特意设计了一款了庆典烟花，为新中国成立70周年献礼。
　　湖南文化创意在中国独树一帜。文化产业位居全国第一方阵，湖南广电品牌价值和收视率长期位居省级卫视第一，芒果TV是中国最大的国有控股视频网站，中南传媒位居全球出版企业第6位。正在建设中马栏山视频文创产业园，吸引众多视频巨头入驻，成为中国视频文创高地。广电湘军、出版湘军、演艺湘军蜚声海内外，长沙被联合国教科文组织授予“世界媒体艺术之都”称号，这是中国唯一获此殊荣的城市。
 

展览介绍

大爱•大美——徐悲鸿与周令钊、戴泽艺术成就展

徐悲鸿是近现代绘画艺术大师，美术教育家，中央美术学院首任院长。周令钊、戴泽都是由徐悲鸿聘请到中央美院任教，他们始终坚持徐悲鸿开创的艺术教育与艺术创作方向。三位先生为创立中国现代美术教育体系作出了历史性贡献，是20世纪中国美术先驱、中国现代美术教育奠基者。
2018年8月30日，在中央美术学院100周年校庆之际，中共中央总书记、国家主席、中央军委主席习近平给周令钊、戴泽等8位老教授回信，向他们致以诚挚的问候，并就做好美育工作，弘扬中华美育精神提出殷切期望。希望学院“以大爱之心育莘莘学子，以大美之艺绘传世之作，努力把学院办成培养社会主义建设者和接班人的摇篮”。
为纪念习近平总书记给中央美术学院老教授回信一周年，并隆重庆祝中华人民共和国成立70周年，我们特举办“大爱•大美——徐悲鸿与周令钊、戴泽艺术成就展”，共组织全国公私机构所藏300余件展品参展，力图用徐悲鸿、周令钊、戴泽三位关系紧密、德艺双馨的艺术家的作品、艺术主张以及存留的历史资料，来展现他们在艺术教育与艺术创作领域所取得的伟大成就，为习近平总书记提倡的美育精神作出生动的实证。同时，我们希望通过展览，使公众对三位艺术家的艺术风格与高尚品质有更为深切直观的体会，从而推动中国美术教育、弘扬中华美育精神。
 

展览介绍

归真——张继陶现代陶艺作品展

张继陶，1931年出生于湖南长沙，现定居于台湾。1949年去往台湾，先后毕业于兵工学校和军官外语学校。1976年，师从台湾著名陶艺家林葆家先生学习陶艺，从此便俯首于陶艺创作中。张继陶先生始终遵循师父“陶艺生活美学”的理念，其作品融合“古”与“今”，贯通“美”与“用”，多以中国传统古典器形为基础，结合现代陶瓷的实用技能与造型，搭配独具个人特色的釉彩，充分展现生活创意巧思与文化美学。
2014年11月，张继陶先生向湖南省博物馆捐赠其创作生涯中代表性的陶艺作品75套（99件），既有与文字书画巧妙结合的陶瓷板画，又有灵活多变的动物群像类陶瓷雕塑，更有釉彩幻千的色釉瓷。这批作品凝结了张继陶先生对生活的感悟，承载了其创作多年的寻真心境，也蕴含了丰富的人生哲思，为我们带来一场现代陶艺的文化大餐。
 

展览介绍

Exhibition of Artwork Donations from Yan Jialong and Zou Chuan’an

Hunan,  the birthplace of many patriotic heroes, is also the mother of many diligent artists, ranging from Yi Yuanji in the ancient period (known for his portraits of monkeys) to Qi Baishi of the modern time (hailed as “The People’s Artist”). With years of effort, the Hunan Museum has now established a collection of artworks from celebrities to artists born in Hunan, a number of which coming from generous donations. 

 In 2013, Zou Chuan’an, a Hunan artist famous for his flower-bird fine brushworks, donated 799 pieces of his own paintings to the Museum. And in 2014, 64 representative works of Yan Jialong, a well-known calligrapher in Hunan, were gifted to the museum by his family members, in fulfilling the artist’s final wishes. Over the past several years, the Hunan Museum has devoted itself to the collection, research and preservation of these donations. Here, the exhibition features 43 works of Yan and 63 of Zou, all of which marked the peak of their personal achievements, fully revealing the level of Hunan contemporary art between the latter part of the 20th century and the early 21st century.

Donations from the public not only enrich the museum collection, they also extend the boundary of the institution, furthering the development of the field of museum. This exhibition held by the Hunan Museum aims to honor the kindness and generosity of the well-known artists, giving the public an access to their artworks. 
 

展览介绍

Root and Soul - Exhibition of Chinese Civilization

Chinese civilization, profound and long-lasting, has been recognized by people all over the world. This fact is even further solidified by the boundless artifacts uncovered. Although only 30 sets of exhibits are shown in this exhibition and its selection process was constrained by many obstacles, we still have a chance to catch a glimpse of this magnificent Chinese civilization.

The development of Chinese civilization has been multi-dimensional and full of twists and turns, rather than going down a narrow path. the artifacts will be restored to its former glory as we will attempt to place it back in its own timeline. We will also seek out the artifacts’ values and positions within the society by conducting an extensive study into their origin, design and background, thus shining a light on the beauty of the civilization.

The Chinese civilization is the only civilization that is still alive and going strong. Although it lies on the Eastern pole of the Eurasian continent, blocked by an immense ocean, high mountains and an endless desert, China has never closed its door to other civilizations. There were exchanges and integrations between grassland culture and farming culture in its north and south; communication and interactions with cultures from ancient Egypt, Greece, Rome, Persia and Arab in the East and the West. In addition, There had also been an influx of colorful religions, such as Buddhism, Zoroastrianism, Nestorianism and Islam. some of foreign cultures have either faded away or assimilated into Chinese civilization. Through constant communication, trade and interaction, civilizations collide, innovate and renew. The exhibits here are witnesses of the cultural exchanges between China and the west.

History and reality are inseparable, even more so with  civilizations that develops from a natural, primitive state. These artifacts may seem to have no connection with the current China. Actually, it is inextricably tied up with our modern life. It affects our way of thinking and many other aspects. It is in our blood. It is the “root” and “soul” of our culture. “Even now, it is the powerful spiritual strength that promotes reform, opening-up and the socialist modernization movement”. 
 

展览介绍

楚骚回响——刘一原水墨艺术展

刘一原的现代水墨艺术创作起始于20世纪80年代。他近半个世纪以“心象”、“点线”、“感时” 为关键词的现代水墨艺术实践，为中国画坛提供了一系列意味深长的当代水墨叙事。刘一原立足本土生存体验，运用中国传统绘画“澄怀味道”、“以形媚道”的水墨艺术方式，以悟对和反省的姿态面对当今之生活世界。他1980年代至本世纪初的作品，沿用宋、元以来中国传统绘画“因心造境”、“以手运心”的创作方法，发挥笔墨的书写性特质，将一种悲天悯人的情怀融入到形象和笔墨之中，表达人在“现代性”之后所生发的诸多生存感悟，引起了广泛的共鸣。他的作品是关注中国文化当代转型问题的理论家、批评家们研究的对象。一直以来批评家们从不同角度不断揭示刘一原作品的历史感、现实性及其创作方法论特色，为中国当代水墨的艺术实践开拓了新的起点。
本次展览以“楚骚回响”为主题，意在重点展示刘一原近十年来艺术创作精神内涵的升华与艺术语言方式的微妙变化。展出的35件作品中有25件创作于2009年之后。在这批作品中艺术家对传统文化之探索、研究的触角由宋、元绘画转向了更为古老的距今2000余年的楚文化。前期作品中的悲悯情怀转化为对诗性与诗意的探求，是与楚骚、楚韵传统的对接，也是“山水以形媚道”（宗炳）的现代版，更是精神上的超越与升华。此展作品《重生》、《雄楚之音》之强烈色彩对比所表达的精神诉求；《汨罗怀想》、《天河》、《时光之迹》等作品中飞扬流动的线条所承载的诗性内涵，无不是楚艺术崇尚生命运动与活力，向往自由的文化精神所引发的回响。湖南、湖北皆为楚文化之故地，有着丰厚的楚文化传统和楚艺术资源，相信《楚骚回响》刘一原水墨艺术展在湖南省博物馆的展出，对于弘扬楚文化富于想象，充满生命激情，发扬踔厉的民族气质和文化精神，激励中国本土现当代艺术的创造，定会产生积极的推动作用和文化影响。

展览介绍

Exhibition of Guqin Culture in Hunan

Guqin originally known as qin, also called a seven-stringed plucked qin and yaoqin, is one of the most ancient instruments of Chinese nation. In ancient times, it was highly praised by literati as the first of the four arts of qin, chess, calligraphy and painting. In November 2003, UNESCO declared it the "representative of oral and intangible heritage of humanity".

Hunan is blessed with a long history of guqin. Shun, a chief of ancient Chinese tribal alliance, played the guqin, intoning “Nanfeng” to rein the country. Guo Mian, a musician in the Southern Song Dynasty, once moved to Hengshan Mountain and composed a song named “Mist and Clouds over Xiao-Xiang River”, which was admired by people for thousands of years. Sages as Zhu Xi, Zhang Shi, Wang Fuzhi and Zuo Zongtang spread feudal code of ethics and purified their souls by qin, adding profound cultural connotation to guqin culture in Hunna. Modern musicians, such as Peng Zhiqing, Yang Zongji, Gu Meigeng, Zha Fuxi and Li Jing were all engaged in guqin study in Hunan, which had a great impact in this field.

Hunan Museum has a collection of fifty-three pieces of guqin, which were unearthed or manufactured during the time from Western Han Dynasty to Republic of China, spanning more than two thousand years. These rich heritages are undoubtedly an important part of Chinese guqin culture.

“Those who play the guqin by the Xiangjiang River have good moral standards as ancient sages.” In the moonlight of Lushan Mountain and the ripple of Xiangjiang river, guqin melody is in harmony with the heaven and the earth, echoing with the universe. It is hoped that the exhibition can provide an opportunity for people from all walks of life to understand the culture of Xiaoxiang guqin and appreciate its unique charm.

展览介绍

Exhibition of Qi Baishi’s Art

Qi Baishi (1864-1957), was formerly known as chunzhi, whose courtesy name was Weiqing, and pseudonym Lanting. Later he renamed himself Huang, with pseudonyms of Binsheng and Baishi, aliases of The Old Man in Xingziwu. The owner of Jieshanyin Study and The rich man of lithographic printings, etc. He was born in a poor peasant family in Baishipu Xingziwu, Xiangtan County, Hunan Province. When he was young, he worked as a carpenter. At the age of 20, he began to learn from the Jieziyuan Painting Collection and study painting by himself. After the age of 50, he resolutely carried out the “Artistic reform at his old age” and initiated a new style of freehand flower and bird painting of “safflower ink leaves” , which demonstrates the zeitgeist of Chinese art with a new look. Since then, he became the most famous, creative and influential Chinese painting master in the 20th century. Moreover, his influence has spread all over the world and won international prestige such as “International Peace Prize” and “World Top Ten Cultural Celebrities” successively.

Qi Baishi experienced the three periods in his life: the late Qing Dynasty, the Republic of China and New China. His legendary experience from a carpenter to the master of painting has always been admired by people. With unique talents, diligence, and the longevity, Qi made great success in painting. However, Qi also has a unique quality that he is very confident in his own art. This kind of enterprise and perseverance in born makes him always keep an unpretentious and pure heart, dare to adhere to his artistic personality,  and maintain the artist’s freedom, independence and creativity all his life, which turns him into a great artist. Therefore, when Chen Shizeng persuaded him with “Draw my own painting, why should I be like others”, which was just in line with the wishes of Qi, he agreed and accepted it. Thus, the artistic path of “Draw my own painting” across his whole life was established. 

Qi was good at poems, writings, paintings and seals, and especially the achievements of painting is the most representative. It not only promoted the development of literati painting, but also disseminated the profound and unpopular Chinese painting art to the public. In the exhibition, nearly 100 pieces of paintings were selected from the collection of Qi Baishi's works, including flowers, birds, landscapes and figures, covering his early, middle and late paintings. It is hoped that the audience can understand the evolution of Qi Baishi’s painting style and immerse into his maverick and charming art world.