The Chinese Painting and Calligraphy Halls at the Shanghai Museum are among the few permanent exhibitions of ancient Chinese paintings and calligraphy found in museums both domestically and abroad. With the establishment and gradual opening of the Shanghai Museum East Wing, the newly upgraded and innovatively renovated calligraphy hall is expected to open to the public early next month. Recently, the “Cultural China Journey: Song of the Yangtze” column of The Paper visited the calligraphy hall located on the east bank of the Huangpu River for an exclusive preview.

The newly upgraded calligraphy hall features comprehensive improvements in content, function, and space. With this fresh redesign, it is set to debut a collection of national treasures previously hidden away. Notably, the section on calligraphy from the Jin and Tang dynasties showcases masterpieces such as Wang Xizhi's “Shangyu Scroll” and Wang Xianzhi's “Duck Head Pill Scroll,” as well as the Tang Dynasty’s Huaisu's “Cursive Script Bitter Bamboo Scroll,” including the original works and all inscriptions. The upgraded calligraphy hall further expands the exhibition routes, allowing long scrolls that were previously displayed only partially to be shown in full for the first time; the addition of a modern calligraphy section also allows for a more complete history of calligraphy at the museum.

As visitors enter the calligraphy hall, they encounter a display that serves both as an installation artwork and as a partition. The semi-transparent “Banana Stone” depicted within the curtain echoes the classic imagery of Tang dynasty artist Sun Wei’s “High and Free.” This setup creates one of the eight scenic spots of the calligraphy hall, known as the “Banana Plant Hall,” instantly immersing visitors in a tranquil viewing atmosphere where they can appreciate the essence of Chinese ink and brush art within a harmonious blend of nature and culture.

Entrance hall of the Calligraphy Museum at the Shanghai Museum.

“The permanent exhibitions at the East Wing focus on the comprehensive history of Chinese painting and calligraphy. The original building at People's Square had limited space, whereas the East Wing offers an opportunity for enhancement and expansion. It represents an upgraded Shanghai Museum that encompasses the history of painting and calligraphy,” said Ling Lizhong, the director of the calligraphy and painting research department of the Shanghai Museum.

The Paper’s exploration of the museum revealed that the calligraphy hall features over 70 exhibits, primarily from the museum's collections. The displays trace the evolution of written language and the history of calligraphy from its origins, oracle bone scripts, bronze inscriptions, large and small seal scripts, running scripts, and regular scripts, spanning the entire history of Chinese writing and calligraphy. The upgraded calligraphy hall boasts a thorough enhancement in content, function, and space.

“The two Wang's ‘Shangyu Scroll’ and ‘Duck Head Pill Scroll’ are on display together for the first time in over twenty years.”

The calligraphy hall at the museum is a significant highlight after years of preparation. According to the museum, on its inaugural opening, it will showcase the national treasures without reservation. In the Jin and Tang sections alone, the masterpieces include Wang Xizhi's “Shangyu Scroll,” Wang Xianzhi's “Duck Head Pill Scroll,” and Tang Huaisu's “Cursive Script Bitter Bamboo Scroll.” The historical significance of calligraphy begins with the “Two Wangs” from the Eastern Jin Dynasty; omitting their works would leave a gap in calligraphy history. This exhibition not only features Wang Xizhi's “Shangyu Scroll” but also includes Wang Xianzhi’s “Duck Head Pill Scroll,” showcasing both masterful pieces together since the last major exhibition in 2002. The last appearance of “Duck Head Pill Scroll” and “Bitter Bamboo Scroll” was at the “Dong Qichang Exhibition” held at the museum in 2019.

Exhibition scene featuring a section of Wang Xizhi’s “Cursive Script Shangyu Scroll.”

Wang Xizhi’s “Cursive Script Shangyu Scroll,” a letter to a friend, is a Tang dynasty copy that exhibits vigorous brushwork and beautiful elegance, showcasing traces of cursive style. The story behind the work is equally compelling; it was first discovered in the warehouse of a craft company, and later identified by Mr. Xie Zhiliu as a work by Wang Xizhi, making it a national treasure found among rubbish.

The numerous inscriptions on the reverse of the letter are also entirely on display, which is extremely rare.

Exhibition scene featuring a section of Wang Xianzhi’s “Running Script Duck Head Pill Scroll.”

“The Duck Head Pill was not satisfactory, but I will collect it and meet with you soon.” Wang Xianzhi's “Running Script Duck Head Pill Scroll” is a brief note to friends and family, and is a Tang dynasty copy. The text flows smoothly and exhibits a circular quality, representing a masterful example of Wang Xianzhi's cursive script achievements.

Exhibition scene featuring a section of Tang Huaisu’s “Bitter Bamboo Scroll.”

The “Bitter Bamboo Scroll” contains only 14 characters: “Bitter bamboo and tea are exceptional, please come directly. Signed: Huaisu.” The characters are round and bold, skillfully fluid. This allows us not only to appreciate the proficient technique of this graceful calligraphy but to directly sense the inner qualities of the author while writing. Huaisu and Zhang Xu are known for creating “crazy cursive” styles, both called “Crazy Zhang and Drunk Huaisu.” “This piece is undoubtedly the only undisputed genuine work by Huaisu to survive,” said Ling Lizhong.

Additionally, Song dynasty's Su Shi's “Regular Script Offering to Huang Jidao Scroll,” Song Mi Fu's “Running Script Duojing Tower Poetry Album,” the previously unseen Yuan dynasty’s Zhao Mengfu’s “Running Script Letter Album,” Ming Zhu Yunming's “Cursive Script Preface to Red Cliff,” and Ming Dong Qichang's “Running Script Tribute to General Pei” are also on display.

Seven-meter-long scroll can be fully unveiled.

In terms of content, the upgraded calligraphy hall has expanded the exhibition routes and adjusted the segments to include modern calligraphy.

Ling Lizhong stated that the newly upgraded calligraphy hall provides “familiar yet unfamiliar exhibits.” What are “familiar yet unfamiliar exhibits”? They refer to the many pieces that were previously shown at the People's Square Museum but could not be fully exhibited due to space limitations, especially those long scrolls, which used to be shown in parts. Now, in the new calligraphy hall, they can be displayed in full, presenting the complete works. For example, Ming Zhu Yunming’s “Cursive Script Preface to Red Cliff,” spans over seven meters; it was previously displayed in just over three meters at the People’s Square Museum, but this time it will be shown completely in the new calligraphy hall. Meanwhile, a previously unseen and unpublished collection belonging to Zhao Mengfu, titled “Running Script Letter Album,” will be entirely exhibited for the first time, featuring twelve volumes of letters addressed to friends from his middle to late years representative of his mature style.

Exhibition scene featuring the fully unveiled “Cursive Script Preface to Red Cliff” by Ming Zhu Yunming.

Exhibition scene featuring a section of “Cursive Script Preface to Red Cliff” by Ming Zhu Yunming.

Exhibition scene featuring a section of Zhao Mengfu’s “Running Script Letter Album.”

Exhibition scene featuring a section of Zhao Mengfu’s “Running Script Letter Album.”

Moreover, Mi Fu's “Running Script Duojing Tower Poetry Album” and Dong Qichang’s “Running Script Tribute to General Pei” were previously exhibited, but this time they will be shown in full, offering a fresh presentation. It is reported that about 70% of the exhibition from the upgraded calligraphy hall will feature entirely new visuals.

Exhibition scene featuring a section of Mi Fu’s “Running Script Duojing Tower Poetry Album.”

Exhibition scene featuring a section of Dong Qichang’s “Running Script Tribute to General Pei.”

Another significant change is the addition of a modern calligraphy section in the East Wing. “Previously, due to limited space at the People’s Square Museum, the history of calligraphy only reached the Qing dynasty; we had collections we couldn't showcase, which was quite regrettable. This time, we have remedied this gap, making the museum’s history of calligraphy more complete,” Ling Lizhong explained. The first round of modern calligraphy features nearly ten works, which are making their debut, including pieces by Luo Zhenyu, Liang Qichao, Master Hongyi, Huang Binhong, and Shen Yinmo. Notably, a large calligraphic couplet by Li Shutong offers a stunning visual impact. “Master Hongyi's works are also a strong point of the museum's collection since his disciple, Xia Mianzun, donated a batch of his works to the museum, providing a chance to showcase them,” he added.

Exhibition scene featuring modern calligraphy by Li Shutong.

Like watching a series, it will take three years to view the complete history of Chinese painting and calligraphy at the Shanghai Museum.