馮國銘

文化部全面開展全國美術(shù)館藏品普查，這是一項影響廣泛、效應(yīng)持久的系統(tǒng)工程。浙江省美術(shù)藏品普查工作于2016年11月完成，共計普查藏品數(shù)量94889件。為展示全省美術(shù)館藏品普查的成果，特遴選展出全省27家美術(shù)館館藏精品100件，于2017年1月5日至2月19日，在浙江美術(shù)館舉辦“盈藏呈祥——全省美術(shù)館館藏精品展”。這是一場真正的“跨年”大展，也是浙江全省美術(shù)館（藝術(shù)館、紀(jì)念館）“鎮(zhèn)館之寶”的集體亮相。

展出的100幅作品中，浙江美術(shù)館展出的石濤《練江歸釣圖》、任伯年《無量壽佛》是清代山水、人物畫的代表之作；齊白石的《牽牛花圖》、于右任《海納壁立聯(lián)》、徐悲鴻《馬》圖等則是民國以來書畫新風(fēng)的扛鼎之作；現(xiàn)代畫家吳冠中的油畫《眼》，曾是他生前掛在自家客廳墻上唯一的本人畫作，這些作品呈現(xiàn)了浙江自清代至當(dāng)代幾百年美術(shù)發(fā)展史的縮影。

名家輩出的中國美術(shù)學(xué)院美術(shù)館也一展風(fēng)采，展品中不乏大師之作：林風(fēng)眠中西合璧的彩墨《風(fēng)景》圖、沙孟海雄健古拙的行書《不顧喜大聯(lián)》、陸儼少水墨淋漓的《山水》圖、陸抑非的寫意《牡丹》圖、宋忠元的工筆《鄧白教授》等精品，都出自中國美術(shù)學(xué)院老一輩藝術(shù)家兼教育家的手筆，代表著中國美院在西畫和中國畫山水、花鳥、人物，以及書法等藝術(shù)門類中的高峰。

其他市縣級美術(shù)館如寧波美術(shù)館、溫州美術(shù)館、嘉興美術(shù)館、麗水市美術(shù)館等匯聚了相應(yīng)市縣的名家之作，或古或今，異彩紛呈，頗具地方特色。寧波美術(shù)館展出的沙耆水彩畫《女子半身像》吸引許多觀眾和藝術(shù)工作者駐足觀賞。溫州美術(shù)館展出的徐啟雄的《秋頌》，一個穿長裙、披黑發(fā)的姑娘半跪在地上吹著長笛，四周落葉繽紛，畫面意境美妙，寄托著畫家對生活的熱愛和對金秋的贊頌。

晚清著名書畫家蒲華，嘉興人，善畫花卉、山水，尤擅畫竹，有“蒲竹”之譽。這次嘉興美術(shù)館把藏品——蒲華的《竹石圖》《梅》《蘭》展出，引人注目，特別是《竹石圖》，瀟灑奇逸，水墨淋漓，線條流暢凝練，柔中寓剛，風(fēng)韻清雋，體現(xiàn)了蒲華繪畫的風(fēng)格特征。麗水市美術(shù)館展出的李震堅的《易安詞思圖》獲得觀眾的點贊與歡迎。

名人藝術(shù)館如吳鎮(zhèn)紀(jì)念館、潘天壽紀(jì)念館、吳昌碩紀(jì)念館、李叔同紀(jì)念館、豐子愷紀(jì)念館、張宗祥書畫院、張樂平紀(jì)念館、錢君匋藝術(shù)研究院、吳茀之紀(jì)念館、徐邦達(dá)藝術(shù)館等，則奉獻(xiàn)了一位位浙籍書畫巨擘的真跡，或大軸巨幅，或片紙一幀，無不氣韻非凡，令人矚目。周昌谷藝術(shù)館藏品、周昌谷的國畫《天問》《芙蓉三變》，豐子愷紀(jì)念館藏品、豐子愷的漫畫《田翁爛醉身如舞》，費新我藝術(shù)館藏品、費新我的行書“花藏鶯占”聯(lián)，陸維釗書畫院藏品、陸維釗的國畫《竹芭》，都是難得一見的珍品。

舉辦全省美術(shù)館藏品的聯(lián)合展覽，在浙江尚屬首次。要集齊27家美術(shù)館的鎮(zhèn)館之寶，不是一朝一夕之功。在展覽策劃過程中，非常注重活化藏品，特別是一些規(guī)模較小的地方美術(shù)館，由于條件限制，很少有機會讓藏品在重要的展覽中亮相。這次展覽可謂激活了這些藏品，有的還是第一次公開展出。在展覽開幕式上，浙江省27家美術(shù)館聯(lián)合發(fā)布《共同促進(jìn)全省美術(shù)館事業(yè)發(fā)展倡議書》，決心以此次全省美術(shù)館藏品普查和館藏精品展為契機，堅持互相交流，構(gòu)建全省美術(shù)館藏品信息庫，打破館際限制，實現(xiàn)資源共享，攜手共創(chuàng)浙江美術(shù)館界繁榮昌盛的新局面。

一次普查，一份倡議，一個展覽，浙江省美術(shù)館界邁出了探索美術(shù)界合作發(fā)展新路的第一步。

Twenty Seven Art Museums Display Artworks

By Feng Guoming

A comprehensive survey by the Ministry of Culture was conducted nationwide to find exactly how many artworks are in the collections of art museums across the country. According to the survey in Zhejiang completed in November 2016， the 27 art museums in the province held a total of 94，889 artworks in their separate collections.

An exhibition was held at Zhejiang Art Museum based in Hangzhou to showcase the best of the collections. It started on January 5， 2017 and ended on February 19. It was the first time that the province put on such a show. The organizers did their best to put together a show that would justify the occasion and satisfy the curiosity of the public， critics， artists. Some art museums are located far away from Hangzhou. They are usually located at birthplaces and hometowns of the artists. The general public had never had a chance to see representative pieces of the artists at one place. The exhibition offered a rare opportunity to have an insightful view of the art museums， their respective collections， and the best of the masters.

At the opening ceremony held on January 5， the 27 art museums issued a joint proposal to join hands in promoting the development of art museums of the province. The general idea of the proposal is to enhance exchanges and communications， and share the resources so as to create a bright future for the art museums in Zhejiang.

Zhejiang Art Museum is a biggest player of the art scene in the province. The exhibits from its collection highlighted the landscapist Shi Tao and figure artist Ren Bonian of the Qing Dynasty （1644-1911）， Qi Baishi， Yu Youren and Xu Beihong of the republic years in the first half of the 20th century， and Wu Guanzhong， a modern artist. These artworks embodied art over the past hundreds of years in Zhejiang.

The art museum of China Academy of Art was a big contributor to the exhibition. The academy holds a large eclectic collection including artworks of the masters who once taught at the academy. The heavyweight names presented by the museum included Lin Fengmian， Sha Menghai， Lu Yanshao， Lu Yifei， and Song Zhongyuan， featuring the achievements the academy has accomplished in the field of western art and traditional Chinese art genres such as landscape， flower-bird， figure and calligraphy.

Regional art museums are a part of the 27 art museums across the province. This time， art museums in Ningbo， Wenzhou， Jiaxing and Lishui featured local artists， which were probably less known to the public. Ningbo presented Sha Qi， an oil painter. Wenzhou exhibited Xu Qixiong. Jiaxing showcased Pu Hua， a Qing dynasty landscape artist. Lishui featured Li Zhenjian， an artist who joined hands with his colleagues at then Zhejiang Academy of Fine Arts in launching a renaissance of figure painting in the 1950s.

Quite a few art museums in Zhejiang are named after artists and largely hold their individual collections. Their presence at the exhibition was eye-catching： Wu Zhen， Pan Tianshou， Wu Changshuo， Li Shutong， Feng Zikai， Zhang Zongxiang， Zhang Leping， Qian Juntao， Wu Fuzhi， Xu Bangda， Zhou Changgu， Fei Xinwo， Lu Weizhao were all represented at the exhibition. Many of these names can be independent chapters of an art history of the country.

It is agreed that the survey， the exhibition， and the joint proposal have opened a new chapter for these art museums across the province.