On February 22, Wuxi Museum officially exhibited "Seeing Suzhou Charm in Numbers: A Grand Exhibition at Your Doorstep", presenting more than 20 precious cultural relics from Nanjing Museum, Yangzhou China Grand Canal Museum, Suzhou Museum and Wuxi Museum.

Although the exhibition lasted only 10 days, it was a real "flash exhibition", but the exhibits were heavyweight. Among them, the most noteworthy exhibit was Yang Ningshi's "Chives Flower Postscript" from the Five Dynasties.

The Paper learned that the exhibition "Seeing Suzhou Charms in Numbers: Seeing the Grand Exhibition at Home" has four major sections: "Seeing Objects, Seeing Exhibitions, Witnessing, and Meeting People", and displays more than 20 precious cultural relics from Nanjing Museum, Yangzhou China Grand Canal Museum, Suzhou Museum and Wuxi Museum, including the Five Dynasties "Jiuhuatie", the Qing Qianlong Furong Stone Panchi Ear Covered Furnace, the Eastern Han Dynasty Silver and Bronze Bull Lamp, the Qing Dynasty Mid-term Cloisonné Elephant Taiping Incense Burner, Qing Dynasty White Jade Fisherman's Boat-shaped Ornaments and many other national-level cultural relics. This exhibition, in the form of "digital exhibition + precious cultural relics + cultural and creative arts", allows the public to see it without leaving home.

Exhibition site, Wuxi Museum

Exhibition site of "Jiuhuatie" Wuxi Museum

According to information released by the organizer, exhibits from the Nanjing Museum include a hibiscus stone coiled-dragon ear cover stove from the Qianlong period of the Qing Dynasty, a silver-bronze ox lamp inlaid in the early Eastern Han Dynasty, a goat-shaped candlestick in the shape of Yue kiln celadon from the Eastern Jin Dynasty, a Southern Dynasties green-glazed porcelain spittoon, a female pottery figurine of the Southern Tang Dynasty in the Five Dynasties and Ten Kingdoms period, a jade cong from the Liangzhu culture, a male pottery figurine holding a hu tablet from the Southern Tang Dynasty in the Five Dynasties and Ten Kingdoms period, a tin Yipin pot from the late Qing Dynasty, and a painted pottery bowl from the Dawenkou culture.

The cultural relics from Wuxi Museum include the Southern Song Dynasty Longquan Kiln plum green tripod-shaped furnace, the Yuan Dynasty "Deng Wansilang" style gold cup with a pattern of giving birth to noble children, the Yuan Dynasty "Chen Pu Zao" style tapir pattern crabapple-shaped gold belt buckle, the Five Dynasties Yang Ningshi "Chives" and the Tang Dynasty deer-shaped jade pendant. It is reported that in order to reflect the cultural characteristics of Wuxi, the cultural relics in the collection of Wuxi Museum in this exhibition were selected by netizens.

Painted pottery bowl from Dawenkou culture

Eastern Jin Dynasty Yue Kiln Celadon Goat-shaped Candlestick

A small bamboo-carved figure brush holder by Gu Jue, Qing Dynasty

The cultural relics on display at Suzhou Museum include a jade cup with Taotie pattern from the Ming Dynasty, a small brush holder with bamboo-carved figures by Gu Jue from the Qing Dynasty, an inkstone with stone blue and white flower patterns from the Qing Dynasty, a brush holder with ivory carvings of seven sages in the bamboo grove from the Qing Dynasty, a lacquered armrest with flowers and birds from the Qing Dynasty, and a sutra box with inlaid mother-of-pearl and polished lacquer.

The cultural relics on display at the China Grand Canal Museum include the Qing Dynasty cloisonné gilt Taiping elephant incense burner, the Qing Dynasty Jingtai style cloisonné enamel lotus-supported eight auspicious patterns fish-ear burner, the Qing Dynasty white jade fishing boat-shaped ornaments, the Longquan kiln green glaze carved lotus petal pattern plate and the Akdan'a style blue and white eight auspicious patterns tripod burner.

Among them, the most noteworthy is undoubtedly the "Jiu Hua Tie" by Yang Ningshi of the Five Dynasties, a rare calligraphy and painting treasure from the Wuxi Museum. It is reported that it has been 7 years since the last exhibition of this cultural relic.

Yang Ningshi's "Chives" in the Five Dynasties

Yang Ningshi's "Chives" in the Five Dynasties

"Jiuhuatie" is written in regular script, with ink on hemp paper, 26 cm high and 28 cm wide. It is Yang Ningshi's representative work. It is a few lines written by Yang Ningshi, a calligrapher of the Five Dynasties, to thank his friend for the delicious chives he gave him when he woke up from a nap and was very hungry. There are seven lines and sixty-three characters. The whole text is filled with the author's relaxed, joyful and high enthusiasm, and his leisurely and relaxed mood is beyond words. His calligraphy is even more amazing. Yang Ningshi is "good at singing poems and writing letters". This casual letter has become a rare masterpiece in the history of calligraphy.

Yang Ningshi's "Chives" in the Five Dynasties

Yang Ningshi introduced contradictions into calligraphy creation and achieved unprecedented harmonious and unified artistic effects. In addition to his extraordinary artistic skills and unique aesthetic taste, this is probably a true portrayal of his realistic mentality. His life is also full of legends. Yang Ningshi passed the imperial examination in the reign of Emperor Zhaozong of the Tang Dynasty, was awarded the title of Duzhi Inspector, and was transferred to the Secretary Lang and Zhishiguan; in the Five Dynasties, he was promoted from the Palace Censor, the Ministry of Rites, the Sanchuan Guardian, the Jixian Palace Direct Scholar, the Ministry of Examination, and the Ministry of Bi Langzhong, Zhizhigao, You Changshi, the Ministry of Works and Households, the Ministry of War, and so on until the last Zuo Pushe, the Prince Taibao, and was awarded the title of Prince Taifu after his death. He served in five dynasties. During this period, he resigned from his post several times due to illness and entered the court several times. From the end of the Tang Dynasty to the Five Dynasties, in just a few decades, dynasties changed several times, wars continued for years, and social contradictions were sharp and complex. It can be said that turmoil ran through Yang Ningshi's life, which destined his life to be ups and downs and endless waves. Yang Ningshi could not escape the contradictions and conflicts in real life. He hoped that the country would be peaceful and the people would be safe, so he actively participated in the society with his talents.

Luo Zhenyu's copy

There are three existing copies of Jiuhuatie. One is Luo Zhenyu's old copy, which is currently only available in collotype photocopies. The second is Lin Boshou's Lanqianshan Pavilion copy, which was collected by Gao Shiqi in the early Qing Dynasty. The third is the copy in the Qing Palace, which was engraved in Sanxitang Calligraphy Collection and is now collected in Wuxi Museum. This post has always been a treasure for the emperor to view and is hidden in the palace. It was once in the Xuanhe Palace of Emperor Huizong of Song Dynasty and the Shaoxing Palace of Southern Song Dynasty. This copy was collected by Zhang Yan in the Yuan Dynasty, with Zhang Yan's postscript. In the Ming Dynasty, it was collected by Xiang Yuanbian and Wu Zhen. There is also a saying that during the Qianlong period, the doctor of calligraphy risked the crime of exterminating his family and replaced it with a copy. The copy remained in the palace, which is the copy in the Qing Palace. The original later flowed into the private sector. In the late Qing Dynasty, it was purchased and collected by Luo Zhenyu, and its whereabouts are unknown now.

Qing Dynasty Qianlong Furong Stone Panchi Ear Covered Censer

In addition, the Qing Dynasty Qianlong Furong Stone Panchi Ear Covered Furnace is also a very popular star artifact in this exhibition. The covered furnace is carved from a whole piece of Furong stone. The whole body is pink, and the surface is covered with natural textures of different lengths and sizes. The sides of its abdomen are decorated with Panchi and door knockers, and four small Panchi are also carefully carved on the top of the lid, which are lifelike.

Hibiscus quartz is a type of quartz, also known as "pink crystal". It is brittle and easy to break when polished. It is pink in color and crystal clear. It is often used to make jewelry and other relatively delicate accessories. It is extremely rare to carve a whole piece of hibiscus quartz into such a large object. The overall color of the object is warm and uniform, the shape is simple, and it also contains a spirit of elegance.

Southern Song Dynasty Longquan Kiln Plum Green Tripod-shaped Stove

In the exhibition hall, the "Southern Song Dynasty Longquan Kiln Plum Green Tripod-shaped Stove" and the "Qing Dynasty Qianlong Furong Stone Panchi Ear Covered Stove" echo each other. The two cultural relics are similar in size and are both antique-style. The Southern Song Dynasty Longquan Kiln Plum Green Tripod-shaped Stove was made in imitation of the bronze tripod style of the Shang and Zhou Dynasties, and was popular from the Song Dynasty to the Ming Dynasty. It is covered with green glaze, and the glaze is light and warm, just like the first green of plums. The shape is simple and elegant, with a sense of stability. This object and the Qing Dynasty Qianlong Furong Stone Panchi Ear Covered Stove are called "Little Pink Stove" and "Little Green Stove" by the public, and have become "CP" in the mouths of netizens.

Silver-copper ox lamp from the early Eastern Han Dynasty

The silver-copper bull lamp of the early Eastern Han Dynasty consists of four parts: lamp base, plate, cover and lid, which can be disassembled. The base is in the shape of a standing buffalo, with a fat body, short feet, majestic, and an empty belly. The bull's head is looking down, with erect ears, staring eyes, open mouth, and tail bent upward. There is a cylindrical round hole in the middle of the back, on which is a disc-shaped lamp plate with a handle, a cover and a cover. The plate and cover can be moved left and right to adjust the direction of light. The cover is composed of two semi-arc-shaped cylinders, and the middle of the outer wall is attached with round earrings for easy movement left and right. The middle of the wall is a rectangular oblique square hole. The cover is bowl-shaped, and the top is an arc-shaped round tube leading to the top of the bull's head. The back of the cover is decorated with a dragon head. Except for the cover, the whole body is inlaid with silver, and the decoration is finely made, with vivid shapes and exquisite designs. During the Han Dynasty, Jiangsu, as the hometown of Liu Bang, especially Xuzhou and Yangzhou, developed rapidly, and the economy and handicraft industry were highly prosperous, which laid the foundation for Jiangsu's long-term prosperity thereafter. This bronze bull lamp is a masterpiece that combines the Han people's rich imagination with exquisite craftsmanship.

A Yuan Dynasty "Shuang Wan Si Lang" style high-footed gold cup with a pattern of giving birth to a son

The Yuan Dynasty "Shuang Wan Si Lang" style high-footed gold cup with the pattern of giving birth to noble children reminds people of Li Bai's words "When life is happy, you should enjoy it to the fullest, and don't let the golden cup face the moon empty." In the center of the cup, there is a picture of "giving birth to noble children": a child holds a lotus stem in his left hand and raises his right hand high to support the stem. He is smiling and playing happily, and there are some lotus flowers dotted around him. The whole picture looks lively and interesting, and it expresses people's good wishes for life.

A mid-Qing dynasty cloisonné enamel gilded Taipingyuxiang incense burner

The cloisonné enamel gilded Taiping Youxiang incense burner in the mid-Qing Dynasty uses the cloisonné enamel technique, which was introduced to my country in the Yuan Dynasty and reached its peak during the Jingtai period of the Ming Dynasty. The design of this incense burner is inspired by the "elephant carrying a treasure vase", which symbolizes "Taiping Youxiang", peace, harvest and good fortune. In Chinese culture, "elephants" are often regarded as a symbol of auspicious animals and longevity, so this incense burner also carries auspicious and beautiful meanings.

Qing Dynasty Ivory Carved Seven Sages in the Bamboo Grove Brush Holder

The Qing Dynasty ivory-carved Seven Sages in a Bamboo Forest pen holder is a treasure for the study. This pen holder is made of ivory and imitates the deep and shallow relief method of Jiangnan Jiading School bamboo carving. It depicts the scene of the Seven Sages playing among the green pines, grass and bamboo forests in a deep mountain courtyard. It is the pinnacle of Su School ivory carving.

QING DYNASTY IVORY CARVED SEVEN WISDOMS IN THE BAMBOO GROVE BLUS

The Seven Sages of the Bamboo Grove depicted here refer to the seven "famous scholars of the Bamboo Grove" during the Wei and Jin Dynasties, including Ji Kang, Ruan Ji, Shan Tao, Xiang Xiu, Liu Ling, Ruan Xian, and Wang Rong. The characters here are vividly portrayed, showing the bohemian, proud and detached character and demeanor of the Six Dynasties scholar-officials.

In addition, naked-eye 3D, augmented reality (AR), virtual reality (VR), virtual interactive magic wall, and AI digital character interaction are also presented in the exhibition hall. The wonderful special exhibitions from the three leading museums of Nanjing Museum, China National Museum of Natural Science and Technology, and Suzhou Museum have been moved to the exhibition hall of Xibo. Visitors can use VR to travel through "Jade in China - Epic Scroll of Chinese Jade for Ten Thousand Years", "Zhongzi Shenzhou - Gorgeous Tang Dynasty Luoyang City", "Roman City and Empire - Special Exhibition of Ancient Roman Cultural Relics in the British Museum", and "Cloud Appreciation" of nearly 30 boutique special exhibitions. At the same time, a 5G Grand Canal immersive experience space has been created, and the exhibits can be "viewed in one museum". The exhibition will be on display until March 5.

(This article is compiled from information published by Wuxi Museum, Museum in the Ear, etc.)