Architectural layout of Sichuan Provincial Museum

Wanfo Temple is located on the Golden Boy Bridge outside the west gate of Chengdu. It is said that it was built in Yan Xi in the Eastern Han Dynasty (A.D. 158- 167). It is a famous ancient temple in Chengdu. From the Southern Dynasties to the Ming Dynasty, incense lasted for more than 1000 years. According to documents and inscriptions on unearthed statues, Wanfo Temple was named Anpu Temple in the Southern Dynasties, Jingzhong Temple in the Tang Dynasty, Silent Temple in the Song Dynasty, and Wanfo Temple in the Ming Dynasty was destroyed by soldiers at the end of the Ming Dynasty.

Since the site of Wanfosi was unearthed in the eighth year of Guangxu in Qing Dynasty (A.D. 1882), a large number of stone carvings, about 200 pieces, have been unearthed four times. Most of the statues unearthed twice were collected by Sichuan Museum, including Buddha statues, bodhisattva statues, statues monuments, statues niches, geisha statues and various building components. The statue of Nanliang (AD 420-589) unearthed from the site is engraved with a clear date, which is an important material for studying early Buddhist art. The stone sculpture of Wanfo Temple occupies an important position in Sichuan and even the whole country. It is rich in subject matter, complex and complete in layout, and exquisitely carved. Many of its masterpieces have participated in many exhibitions at home and abroad and have been listed in various catalogues. We selected some exquisite stone carvings from the collection of Wanfo Temple, and also selected several stone carvings unearthed in other parts of our province for exhibition to meet the needs of the masses for Buddhist art. This is the first time that the stone carving of Chengdu Wanfo Temple 100 years has been unearthed, which will let you appreciate the charm of Buddhist art. Ceramics is no stranger to us, because it accompanies all aspects of our lives. It is one of the earliest achievements of human civilization and the perfect combination of mud and fire.

China's ceramic culture has a long history. As early as 15000 years ago, our ancestors created pottery. Zhixia Shang Dynasty porcelain sprouted, and mature porcelain was fired in Han Dynasty. Up to now, ceramics still live with us day and night, enriching and beautifying our material life and spiritual world. Porcelain used to be the "emissary" to show China's brilliance to the world, so that the English word "China" became the symbol and pronoun of China.

The development of Bashu ceramics has gone through the same course, from the naive and simple painted pottery in Daxi, vivid pottery in Han Dynasty and colorful figurines in Song Dynasty to the unique Qingyang Palace kiln, Qiong Yao kiln, Yutang kiln, Guangyuan kiln, Cifeng kiln and Liulichang kiln, all of which show the natural and simple charm of Bashu ceramics. Although she is not as exquisite and luxurious as the official kiln porcelain, she embodies a rich flavor of life. In particular, Qiong Yao's colorful spots, stippling and paintings have expanded the new world of ceramic decoration art, and the prestigious energy-saving lamp is a very meaningful invention. There are also works of other kiln systems in China, which are poetic and picturesque, just like fine wine; Jade, silver and ice tell the beautiful story of ancient porcelain in China.

Let's cross the Millennium time and space, knock on the door of ceramic art, and appreciate her various forms and customs! China's calligraphy and painting has a long history, which has formed distinctive national characteristics in the historical development and is an important wealth of China's traditional national culture.

Sichuan's painting and calligraphy art has a profound tradition. Since the Tang Dynasty, some painters in Kyoto and other places have followed Xuanzong and Tang Xizong to avoid chaos, which has brought prosperity to the art of calligraphy and painting in Sichuan. It is mentioned in the Summary of the General Contents of Sikuquanshu that "Shu Road is remote, and painters are more unique than Sifang". According to the Who's Who of Painting and Calligraphy in Yizhou, there were more than11000 foreign painting and calligraphy celebrities in Sichuan from Gan Yuan in Tang Dynasty (AD 758) to Song Gande (AD 967) and from the early Qing Dynasty to the Republic of China (AD 1736 to AD 1046). During the Anti-Japanese War, Sichuan, as the rear area, gathered cultural celebrities and artists from all directions, and once again set off a wave of modern art.

The fine collection of calligraphy and painting exhibited here is dazzling, but it can also appreciate the splendid cultural tradition of China's calligraphy and painting, and its characteristics make people linger. The 20th century was a magnificent and changeable 65,438+000 years in Sichuan's history, during which many epic events took place, which had a very important impact on the historical stage of China and even the world. We selected some of the most memorable clips and dedicated them to the audience.

This exhibition focuses on three historical facts: the "Sichuan Road Protection Movement" during the old democratic revolution, the "Red Army's Long March across Sichuan" during the new democratic revolution and the "Flying Sichuan" during the socialist construction. Through nearly 300 photos and more than 200 historical relics, the history of Sichuan people's struggle in the past 100 years is reproduced, and the lofty spirit of Sichuan people's indomitable struggle for national independence, people's liberation and Chinese rejuvenation is displayed.

Review the old and learn the new, learn the old and learn the present. Under the leadership of the CPC Central Committee, the people of Sichuan will certainly be able to inherit the revolutionary tradition, create more brilliant achievements and write more brilliant historical chapters with diligent hands. "The wind rises in Yunfei, the weaver girl belongs to the hometown of the sea, and the strong man keeps the square." This is the Song of the Great Wind by Emperor Gaozu Liu Bang. Zhang Shanzi and Zhang Daqian, famous painters in the late Ming and early Qing Dynasties, named their own painting gallery "Dafeng Hall" after Song of the Great Wind and Zhang Dafeng, a famous painter. Zhang Kunzhong lived up to his reputation and made great contributions to the painting world in the 20th century.

Mr Daqian's immortal life span is 85 years, and he has been an artist for more than 70 years. He made great efforts in his life, tracing back to the sages, visiting famous mountains, casting ancient and modern paintings and painting more than 30 thousand frames. Fine brushwork and freehand brushwork are all in fairyland, and landscape figures, flowers and birds, all have a look. Its graceful and elegant pen, indulging in the charm of splashing colors, fascinated Chinese and western scholars. His talent, diligence, courage and experience are beyond people's reach, as Mr. Xu Beihong said: "Zhang Daqian is the first person in 500 years!" .

The Sichuan Museum has a rich collection of Mr. Daqian's paintings, especially copying Dunhuang murals. With the flow of your eyes and ears, those magnificent systems, layers of clear ink and exquisite seals, one by one past will lead you into an extraordinary world. Tibetan Buddhism was introduced into Tibet from India and China in the 7th century. After more than three centuries of collision and mutual absorption with Bonism, a local religion in Tibet, it gradually became localized. Also known as "Tibetan Buddhism", commonly known as "Lamaism".

In the course of development, Tibetan Buddhism has gradually formed four major sects, namely Nyima, Sakya, Gaju and Gelu, and some small sects. Some of these small sects later disappeared on their own, while others merged into the main sects. Among them, the Juenang School still exists and is active in Tibetan areas in Sichuan and Gansu today. During its development, Bonism gradually became Tibetan Buddhism.

The influence of Tibetan Buddhism on the Tibetan people is extensive and profound. It has penetrated into the history, politics, economy, culture, education and customs of China, and has become a religion widely believed by Tibetans in China. After a long period of national cultural exchanges, it was introduced to Mongolian, Tu, Yugur, Luoba, Menba, Naxi, Pumi and other ethnic groups in China, and spread in Tibet, Sichuan, Yunnan, Gansu, Qinghai and other places.

Sichuan is the second largest Tibetan area in China. Due to its special geographical location, our library has a very rich collection of Tibetan Buddhist cultural relics. These cultural relics comprehensively reflect the spread and development of Buddhist culture in Tibetan areas for more than 1000 years. We selected some fine products for special exhibition. Almost all these cultural relics are on public display for the first time. They will not only make you admire the profound Tibetan Buddhist culture, but also bring you beautiful enjoyment. The Han Dynasty was a moderns in Chinese history. In the centralized country in the rising period of feudal society, with the development of economy and the expansion of territory, the pottery art of Han Dynasty is a wonderful work of art growing on the fertile soil of this era.

The pottery stone art in Han Dynasty, represented by stone reliefs, brick reliefs and pottery sculpture art, was the product of the custom of "thick burial" at that time, with strong national color and characteristics of the times. In the middle and late Western Han Dynasty, the wind of heavy burial prevailed, which created conditions for the emergence of a large number of stone relief and brick relief.

Sichuan basin was developed earlier. After Qin unified Bashu, the advanced culture and production technology in the Central Plains spread rapidly, and the production level of agriculture and handicrafts in Sichuan in Han Dynasty was greatly improved. Wen Weng's promotion of learning made Sichuan culture develop rapidly. Sichuan, which is stable and rich, has naturally become an important area where pottery art is popular. From the middle and late Western Han Dynasty, it prevailed in the Eastern Han Dynasty, at the latest in the early Shu and Han Dynasties. Not only is there a large number and variety, but also its portrait style has local characteristics.

The prevalence of Taoist immortal thought in the Eastern Han Dynasty had a great influence on the funeral art in the Han Dynasty. People believe in "immortality of the soul" and "ascension to heaven after death". There is no shadow of life and death in pottery stone art in Han dynasty, but it is full of praise and yearning for life, love and pursuit of life, and the works are full of vigorous vitality. It vividly showed all aspects of social life at that time, and both modeling skills and carving techniques reached a fairly high level. It not only played a particularly important role in studying the social life, spiritual beliefs and moral concepts in the Han Dynasty, but also wrote a brilliant chapter in the history of China art. The alloy of copper and tin or lead is called bronze. As an important part of bronze culture in China, around 1600 BC, Bashu bronzes gradually formed their own unique bronze culture in the exchange with Xia, Shang and Zhou bronze cultures. There are countless classical documents in China, but there are few records about the history of Bashu. Therefore, the history of ancient Bashu is confusing and there are different opinions. Since 1950s, a large number of exquisite bronzes have been unearthed from a series of major archaeological discoveries, such as Xinfan Shuiguanyin, Badian Sundong Dam, Zhao Hua Baolun Garden, Pengzhou Zhuwa Street, Chengdu Yangzi Mountain, Chengdu Baihuatan, Chongqing Fuling Xiaotianchi, Xindu Majiaxiang, Guanghan Sanxingdui, Chengdu Jinsha, Maoxian County and Xuanhan County. In addition, bronzes with the characteristics of Bashu culture have also been found in Hanzhong, Baoji, Yichang, Hubei and other provinces adjacent to Sichuan, which provide extremely precious physical materials for the study of Bashu culture. It is proved that in the vast Sichuan basin, about three or four thousand years ago, Shu people created a highly civilized ancient country, and later together with Ba people created a splendid Bashu bronze culture, representing the highest achievement of Bashu ancient civilization.

When we stand silently in front of the precious heritage left by the ancestors of Bashu, we can't help but sigh that the ancestors did not forget to absorb the mind and wisdom of the essence of Shang and Zhou cultures while creating their own culture; We have to admire our ancestors for creating a rich material world, and at the same time, they also created the glory in the romantic bronze art world.

Only some bronzes collected by Sichuan Museum are on display here. Its mystery and strangeness will tell you the glory of the past.