从“藏·天下展”到“仰之弥高展”——南京博物院书画展策展思考

From“Collecting the World”to“Lofty Sublimity”:Curatorial Thoughts on the Exhibitions of Painting and Calligraphy of Nanjing Museum

博物馆的书画展需要学术研究作为展览的支撑。以南京博物院"藏·天下——庞莱臣虚斋名画合璧展""青藤白阳——徐渭、陈淳书画艺术特展""仰之弥高——二十世纪中国画大家展"为例,展前的学术研究保证了展览内容的学术性、普及性和适当的延续性,是展览成功的基础与保障;在展陈方式上,策展者也根据研究成果为观众设计了合理的参观导引路线,突出重点展品,通过说明牌的设计、合理的布局、零距离观展等方式加大对书画作品的导读,探索"全貌展陈",收到良好的展陈效果。

Exhibitions of painting and calligraphy require solid research as their curatorial foundation.By examining the three recent exhibitions on painting and calligraphy of Nanjing Museum-“Collecting the World:Pang Laichen and his Xuzhai Collection”,“Qingteng and Baiyang:Painting and Calligraphic Art of Chen Chun and Xu Wei”,and“Lofty Sublimity:Chinese Painting Masters in the 20th Century”,it is con cluded that the academic research conducted beforehand ensured its scholarship and popularity as well as a certain extent of sustainability,which laid a foundation for the success of the exhibition.The design ideas,which included a specially curated visiting route,the highlighting of important objects,the strengthened ori entation and interpretation of the displayed works through labels,the arrangement of cases,and the provision of zero-distance viewing experience as well as the practice of“full-view display”have worked successfully and fruitfully.