Zhao Duoduo Source: China Art News Network
Kyoto National Museum and Taipei Forbidden City opened the curtains of the "National Treasure - 120th Anniversary of the Opening of the Kyoto National Museum" and "The Formation of National Treasures - Special Exhibition of Calligraphy and Painting" on October 3 and 4 respectively.
Both used the word "national treasure" in the exhibition. They both hoped that the exhibition could allow the public to understand the current cultural relics grading system, and they also hoped that through the exhibition of these "national treasure" cultural relics, they could truly understand their cultural origins and aesthetic traditions.
Kyoto National Museum focuses on "national treasures" and tries to highlight Japan's historical, cultural and aesthetic traditions
Exhibition site
Kyoto National Museum is famous for its collection of a large number of precious cultural heritages. It held the "National Treasure Exhibition" twice in 1969 and 1976. It was 41 years after the last time, and it has gathered nearly 200 "national treasures" in various places such as Tokyo National Museum , Hokraji , Tangzhaotiji , etc.
2017 marks the 120th anniversary of the opening of the Kyoto National Museum. Since the opening of the Imperial Kyoto Museum (the predecessor of the Kyoto National Museum) in the 30th year of Meiji (1897), in order to protect important cultural heritages such as temples, shrines, and Buddhist pavilions centered on the ancient capital, the Kyoto National Museum has continuously promoted the collection, protection, research and display of cultural heritage.
2017 is also the 120th anniversary of the promulgation of the "Gushe Temple Preservation Law", which used the term "national treasure" in Japanese decree. The original intention of the "Gushe Temple Preservation Law" was to define the method of preservation of buildings and treasures owned by Gushe Temple. Later, it extended the "National Treasure Preservation Law" and other systems that took many aspects of "cultural wealth" as the object of preservation, and finally evolved into the "Cultural wealth protection law" formulated and implemented in 1950 to the present.
"Sick Grass Paper" "Treatment of Eye Diseases" (partial), Heian Times (12th Century), Collection of the Kyoto National Museum (1st and 2nd Exhibits)
"Signature of the Origin Lai Chao", "Signature of the Hirashima", "Signature of the Fujiwara Light Energy Image", Kamakura Period (13th Century), Kyoto Kangoji Collection (3rd and 4th Exhibits)
Here you need to note that the word "cultural wealth" in Japanese is a literal translation of the English cultural property. Generally, the word "cultural wealth" in Japanese is translated as "cultural relics", but Japan's "cultural wealth" is quite different from the word "cultural relics" in my country.
Japan's concept of "cultural wealth" includes three categories: real estate, movable property and intangible cultural assets. It is specifically divided into categories such as tangible cultural wealth, intangible cultural wealth, folk cultural wealth, monuments, traditional built groups, and buried cultural wealth. The tangible cultural wealth includes buildings, art crafts, ancient documents; the intangible cultural wealth includes drama, music, etc.; the folk cultural wealth includes customs, folk art, and the clothing and utensils used in these activities; the souvenirs include shell tombs, ancient tombs, capital ruins, and scenic spots such as gardens and canyons.
"Pine Forest Screen", Hasegawa et al., Tokyo National Museum (Exhibitions in the third phase)
" Swallow Flower Screen ", Edo Period (18th century), Oshiro Mitsu, Tokyo Nentsu Art Museum Collection (Exhibitions in the fourth phase)
And the word "cultural relics" in my country can actually be understood as material cultural heritage , that is, valuable witnesses left over from the history of social and natural development, divided into movable cultural relics and immovable cultural relics. Japan's concept of "cultural wealth" is more like a general term for material cultural heritage and intangible cultural heritage.
Taipei Forbidden City focuses on "painting and calligraphy", and strives to promote the purpose and achievements of the antique grading system
Exhibition site
This time, the "Formation of National Treasures" special exhibition in the Taipei Forbidden City, I hope to promote the purpose and achievements of the antique grading system to the public through the exhibition and interpretation of the essence of calligraphy and painting. A total of 45 pieces were selected for this exhibition, including 34 Chinese treasure-level calligraphy and paintings and 11 important antiques.
The calligraphy and paintings collected by the Forbidden City in Taipei belong to the "Ancients" defined in the "Cultural Assets Preservation Law", which means artistic works of cultural significance after artificial processing by various eras and ethnic groups, and are divided into three levels: "national treasure", "important antiques" and "general antiques" according to their artistic level.
Jin Wang Xizhi Kuaixue Shiqing Tie Album
Taipei Forbidden City’s collection of cultural relics are mainly inherited from the old collection of the Qing Palace. During the Qianlong period, Emperor Gaozong compiled a catalog of calligraphy and paintings in the palace. In the ninth year of Qianlong (1744), he first completed the "Secret Palace Zhulin" of Taoist paintings, and the following year he continued to compile the " Shiqu Baoji " of calligraphy and paintings. The calligraphy and paintings recorded in "The Secret Palace Zhulin" and "Shiqu Baoji" are all marked with "highest" and "secondary". For example, the " Xiao Yizhuan Lanting Picture" by Yan Liben , the "Han Forest Picture" by Li Cheng of the Song Dynasty, and the "Spring Farming Picture of the Valleykou" by Wang Meng of the Yuan Dynasty are all top-notch. For example, the "Han Forest Picture of the Song Dynasty, Fan Kuan's "Han Forest Picture of the Stream and Mountain Travel" by Cui Bai of the Song Dynasty, and the "Fisherman's Picture of the Yuan Dynasty" by Wu Zhen were all ranked second-class at that time.
Jin Wang Xizhi Yuanhuan Tie Volume
In the book, the notes, sizes, signatures, seals of the "high-quality" works, as well as the inscriptions and the seals stamped in the palace will be listed in detail. For "secondary" works, only the three words "coloring painting" or "ink painting".
With the continuous increase in the in-house storage of the Qing Palace, in the 58th year of Qianlong (1793), the "Secret Hall Zhulin Success" and "Shiqu Baoji Success" were compiled. Later, in the 21st year of Jiaqing (1816), the compilation of "Secret Hall Zhulin Three" and "Shiqu Baoji Three" were completed again. However, the classification of hierarchies has been abolished in both the "Summary" and "Three Editions". Why do the more detailed "Summary" and "Three Editions" omit the rankings, and no explanation is made in it. Many scholars speculate that this move may be to avoid improper classifications.
Tang people Gong Letu Schedule
In the early days of the Anti-Japanese War, the cultural relics of Palace Museum began to migrate south from Beijing in 1933. After the end of the Anti-Japanese War, some of the cultural relics arrived in Taiwan in 1948. When the cultural relics were stopped in Wufeng, Taichung, the Forbidden City in Taipei generally followed the compilation method of "Shiqu Baoji" and completed the recording of "Calligraphy and Painting Records of the Forbidden City". Although it was not divided into "highest" and "secondary", it was divided into "right" and "simple".
Song Huizong Poetry and Posts Volume
1977, the Management Committee required that all cultural relics in the Forbidden City in Taipei should have a unified number. In order to reflect the quality and disadvantages of cultural relics in the process of unified numbering, the Taipei Forbidden City uses "A, B, and C" to define the rank of cultural relics in the numbering. For example, Fan Kuan's "Traveling of Streams and Mountains" in the Song Dynasty was compiled as "Ashen Paintings A02·08·00826", and Guo Xi's "Early Spring" of the Song Dynasty was "Ashen Paintings B02·08·00053", but only the calligraphy and painting departments completed the classification of this level.
Tang Han Hang Horse Herd Picture Album
Since 2005, according to the new version of the Cultural Assets Preservation Law in Taiwan, antiques are divided into three levels: "national treasure", "important cultural relics" and "general cultural relics".
Song Wentong Mozhu Shun
Yuan Zhao Mengfu Letter to the Center Monk (Zui Meng Post) Album
Taiwan's earliest cultural relics protection law was indirectly inherited from the "Ancient Relics Preservation Law" published by Nanjing National Government in 1930. Later, the "Ancient Relics Preservation Law" was promulgated in 1982 after repeated revisions and demonstrations. The current "Cultural Assets Preservation Law" is continuously adjusted and revised based on the "Anti-Relics Preservation Law". The "Cultural Assets" have a clear definition of "cultural assets": cultural assets refer to assets that "hare historical, cultural, artistic, scientific and other values, and are designated or registered", including: historical sites, historical buildings, settlements; sites; cultural landscapes; traditional art; folk customs and related cultural relics; antiquities; natural landscapes. From the definition, it is not difficult to see that Taiwan’s cultural heritage protection law is closer to Japan, and the “cultural assets” here are very similar to Japan’s concept of “cultural wealth”.
Song Li Di Qiu Hui Grass and Insects Local
These two exhibitions opened at the same time, which is of great benefit to us to further understand and understand the cultural relics protection laws and cultural relics grading systems in Taiwan and Japan. Although the term "national treasure" may have a little subjectivity and national color, and the diversity of cultural relics categories and the complexity of their hidden values have caused many controversies in the classification of cultural relics, appropriate classification does make it easier for museum staff to effectively carry out their work and grasp the status of the collection, and is also conducive to the protection and management of cultural relics at all levels. With the emergence and accumulation of new research results and the continuous revision of grading standards, antique classification will definitely embark on a more scientific and reasonable path.
Image source: Taipei Forbidden City, Kyoto National Museum official website
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