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The Lectures of 2018 Liaoning Provincial Museum Lecture Room 

in first quarter has been put out



Lecture 1

Unique - National Treasure Code of Tang Dynasty Copy of a Calligraphy by Wang Xizhi

Lecture Time:10:00AM, February 24 (the ninth day of the lunar February), 2018

Lecture Venue:Peiwen House, Floor 1, the new building of Liaoning Provincial Museum at Hunnan

Lecturer:Dong Baohou

Introduction to the Lecturer:

Dong Baohou has been engaged in painting and calligraphy curation and research since he joined Liaoning Provincial Museum in 2002 and is currently the director of Art Department and the deputy research librarian of Liaoning Provincial Museum.


 


The CCTV program National Treasure sparked a heated debate in 2017, and three national treasures – Song Dynasty Copy of Painting of Goddess Luo Rhapsody Aesthetic by Mu Gukai, Gilt stirrups with wood core and Tang Dynasty Copy of a Calligraphy by Wang Xizhi. After final selection, theTang Dynasty Copy of a Calligraphy by Wang Xizhi is selected into the Special Exhibition of National Treasure.

 


When Liaoning Provincial Museum launches the special exhibition of Tang Dynasty Copy of a Calligraphy by Wang Xizhi, Dong Baohou, the director of Art Department of Liaoning Provincial Museum and the guard of Tang Dynasty Copy of a Calligraphy by Wang Xizhi in the CCTV program National Treasure, will decode the national treasure of Tang Dynasty Copy of a Calligraphy by Wang Xizhi by telling the stories about how it came into being and how it was handed down to generations, analyze its historical connotation in detail and share its cultural charm that is unique in the history of Chinese calligraphy.


Lecture 2

Archaeology of Chu Culture, Rewriting the History of Chinese Civilization

Lecture Time:10:00AM, February 25 (the tenth day of the lunar February), 2018

Lecture Venue:Peiwen House, Floor 1, the new building of Liaoning Provincial Museum at Hunnan

Lecturer:Wan Quanwen

Introduction to the Lecturer:

Wan Quanwen is the Party Committee Secretary of Hubei Provincial Museum and Hubei Provincial Institute of Cultural Relics and Archaeology, holding the concurrent post of Executive Deputy Curator Director and Deputy Director. His study mainly focuses on bronze culture and Chu culture of ancient China and hosts large-scale permanent display of Chu Culture Exhibition.



After the 1960s and 1970s of last century, many treasures have been discovered in the place of Jing and Chu (current Hubei Province). Chu Tomb 1 and 2 in the nine serial mounds discovered in 2002 are the good examples. Wiping out the dust and sorting through the threads, the Chu Culture with unique charm has given people a strong visual impact while triggering deep reflections on this culture again and again: does China’s ancient history need to be rewritten? In the last 20 or 30 years, the significance of Chu Culture has gradually become the consensus of the people concerned about the study of ancient Chinese civilization.



Lecture 3

Chirography, Pattern, Style - Exemplification of the Aesthetic Difference of Calligraphies of Ming and Qing Dynasties

Lecture Time:13:30PM, March 3 (Saturday), 2018

Lecture Venue:Peiwen House, Floor 1, the new building of Liaoning Provincial Museum at Hunnan

Lecturer:Ma Xinyu

Introduction to the Lecturer:

Ma Xinyu is a PHD of history from Jilin University and the student of Cong Wenjun. Now he is the deputy professor and postgraduate tutor in the field of calligraphy theory and artistic practice of Luxun Academy of Fine Arts. He is also one of first special distinguished critics engaged by Liaoning Provincial Literary Federation, council member of Liaoning Literature and Art Theorists Association, member of China Literature and Art Critics Association and member of Chinese Calligraphers Association. He is the author of Chinese Calligraphy in Diagrams, Study and Criticism on Stone Inscription of Qing Dynasty, etc.



During the Ming and Qing Dynasties, the large-character calligraphy marked by large scroll was quite popular. The calligraphers in Ming Dynasty were strong in running script on hanging scroll, while the calligraphers in Qing Dynasty were strong in writing seal script, official script, regular script and cursive script on couplet hung on the columns of a hall. But, what made such difference? How should we appreciate these works and what edifications can we get from those works? To explore these questions, we specially invited Ma Xinyu, the professor of Luxun Academy of Fine Arts, to give a special lecture to us.



Lecture 4

The Archaeological Discovery of 9 Serial Mounds Chu Tombs and Comment on Turning Point of the Situations of Qing and Chu

Lecture Time:10:00AM, March 4 (Sunday), 2018

Lecture Venue:Peiwen House, Floor 1, the new building of Liaoning Provincial Museum at Hunnan

Lecturer:Wang Jichao

Introduction to the Lecturer:

Wang Jichao is the researcher of Hubei Provincial Museum.



As one of the five hegemons of Spring and Autumn Period, Chu initially originated in the Jingshan Mountains and lasted from 800 years from its foundation. In the beginning, the Chu people endued great hardships in pioneer work and only owned hundred miles of land. In the Warring States period, it had been a powerful state owning 5000 miles of land, thousands of chariots and millions of soldiers in armor. The reason of its prosperity lies in that Chu people not only respected the Rites of Zhou but also retained the style of strong barbarians. From September 2002 to January 2003, to support the construction of highway, the archaeological workers unearthed the Tomb No. 1 and 2 in the 9 serial mound tombs located in Wudian Town, Zaoyang City. They also unearthed pit of chariots buried with the dead. Over 4000 pieces/sets of cultural relics were unearthed from Tomb 1, and over 1000 pieces/sets of buried cultural relics were unearthed from Tomb 2. These are the testimonies of the era of Sacrificial Rites and Military Rites in the Spring and Autumn Period and the Warring States period.