{"id":2242,"date":"2018-07-01T18:08:23","date_gmt":"2018-07-01T16:08:23","guid":{"rendered":"https:\/\/alaincardenas.com\/blog\/?p=2242"},"modified":"2019-02-23T09:59:06","modified_gmt":"2019-02-23T08:59:06","slug":"des-trompe-loeil-chinois-xviie-xxe-s-des-huit-cassures-aux-collages-paysans","status":"publish","type":"post","link":"https:\/\/alaincardenas.com\/blog\/des-trompe-loeil-chinois-xviie-xxe-s-des-huit-cassures-aux-collages-paysans\/","title":{"rendered":"Des trompe-l\u2019\u0153il chinois, XVIIe \u2013 XXe s., des huit cassures aux collages paysans\u00a0:"},"content":{"rendered":"

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Collages (1980 ca) Pi\u00e8ces de tissus coll\u00e9es, 57 x 48 cm (ancienne coll. FD)<\/p>\n

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La cr\u00e9ation r\u00e9cente du Mus\u00e9e chinois du quotidien \u00e0 Lod\u00e8ve s\u2019accompagne de la pr\u00e9sentation d\u2019un floril\u00e8ge de collages ex\u00e9cut\u00e9s sur tissu durant les ann\u00e9es 1970-1980 dans le Nord de la Chine. Cet \u00e9v\u00e9nement permet de faire le point sur une notion fluctuante entre Est et Ouest, celle du trompe-l\u2019\u0153il. Ce concept de perspective fausse ou fauss\u00e9e<\/em>, reste une perception occidentale qui prend une importance consid\u00e9rable dans les recherches \u00e0 la fin du Moyen-Age, incluant aussi toutes les d\u00e9formations possibles, telle l\u2019anamorphose, la chambre optique, les trait\u00e9s sur la perspective, l\u2019utilisation de supports vari\u00e9s\u00a0: papier, bois, pigment,\u2026<\/p>\n

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Les prolongements de cette approche artistique, math\u00e9matique, esth\u00e9tique sont diff\u00e9rents en Chine.<\/p>\n

Depuis mai dernier, le Mus\u00e9e chinois du quotidien a, lors de son ouverture de pr\u00e9figuration, expos\u00e9 une dizaine de collages chinois qui ont \u00e9tonn\u00e9 les visiteurs et suscit\u00e9 bien des interrogations. Il s\u2019agit d\u2019un floril\u00e8ge de pi\u00e8ces provenant de l\u2019ancienne collection Fran\u00e7ois Dautresme[1]<\/a>. Parall\u00e8lement \u00e0 ces \u0153uvres reconnues, une production plus traditionnelle continue d\u2019exister, production qui est tout aussi repr\u00e9sentative du go\u00fbt chinois, \u2013 celui des classes dites moyennes qui ne peuvent – ou ne veulent – acc\u00e9der aux \u0153uvres des grands ma\u00eetres classiques mais font n\u00e9anmoins partager le plaisir de leurs acquisitions. Disparue durant la p\u00e9riode de reconstruction du pays, cette forme artistique des \u00ab\u00a0huit cassures\u00a0\u00bb (bapo [\u516b\u7834\u56fe ] en chinois) reste propitiatoire et montre que d\u2019\u0153uvres de rebut, \u00e9limin\u00e9es, fragmentaires, peuvent rena\u00eetre la fortune, l\u2019opulence et se prolonger avec d\u2019autres formes n\u00e9es de la m\u00eame source.<\/p>\n

Les huit cassures et leur fortune en Chine<\/strong><\/p>\n

Yang Weiquan (1885-?) en est un exemple. Originaire du port de Minhou au Fujian, il se \ufb01xe \u00e0 Shanghai en 1937 et produit des \u0153uvres de type bapo [huit cassures], trompe-l\u2019\u0153il caract\u00e9ris\u00e9 par une succession de fragments peints de fa\u00e7on surprenante. Il a progressivement l\u2019estime de ses confr\u00e8res qui l\u2019invitent \u00e0 rejoindre leur organisation professionnelle lors des expositions. Les \u0153uvres de type bapo sont quelque peu assimilables aux pi\u00e8ces de type propitiatoire produites lors du nouvel an lunaire. Elles se d\u00e9veloppent d\u00e8s le XVIIe si\u00e8cle dans un contexte antiquisant, tourn\u00e9 vers la m\u00e9moire du pass\u00e9. Des s\u00e9quences historiques sont \u00e9voqu\u00e9es avec les estampages de r\u00e9cipients de bronze comm\u00e9moratifs, les motifs propitiatoires de c\u00e9ramiques, des parties de rouleaux et de livres relatant les fits et chroniques dynastiques, tous objets qui ont suscit\u00e9 la curiosit\u00e9 et l\u2019int\u00e9r\u00eat des lettr\u00e9s. Les sujets \u00e9voluent selon l\u2019inspiration des artistes : ainsi les calligraphies et estampages vont c\u00e9der la place \u00e0 des photographies, publicit\u00e9s et autres pi\u00e8ces non destin\u00e9es \u00e0 \u00eatre conserv\u00e9es, souvent avec des allusions litt\u00e9raires. Ces peintures ont \u00e9t\u00e9 appr\u00e9ci\u00e9es durant les ann\u00e9es 20 dans un centre cosmopolite ouvert comme l\u2019\u00e9tait Shanghai. En raison de ce contexte particulier, les \u0153uvres sont devenues rares, \u2013 seule une vingtaine dues \u00e0 cet artiste ont \u00e9t\u00e9 conserv\u00e9es dans les collections chinoises, taiwanaises, japonaises et occidentales. Cette forme trompe-l\u2019\u0153il ou \u00ab huit cassures\u00a0\u00bb est aussi connu sous le nom de \u00ab tas de cendres de brocart \u00bb qui \u00e9voque un statut d\u2019\u0153uvre \u00e0 contenu autrefois pr\u00e9cieux. Le nombre \u00ab huit \u00bb indique autant la multiplicit\u00e9 des \u00e9l\u00e9ments peints que le caract\u00e8re propitiatoire du contenu, et, dans le sud du pays, la prononciation est proche de celle de fa<\/em>\u53d1dans l\u2019expression facai<\/em>, \u53d1\u8d22, s\u2019enrichir ou fada<\/em>\u53d1\u8fbe, se d\u00e9velopper. Les \u0153uvres sont majoritairement \u2013 comme celle-ci due \u00e0 Yang Weiquan \u2013 des lavis peints sur rouleau, mais aussi des peintures sur \u00e9ventail, des c\u00e9ramiques ou des \ufb02acons \u00e0 opium. Ces \u0153uvres n\u2019ont jamais vraiment \u00e9t\u00e9 consid\u00e9r\u00e9es comme \u00e9tant tr\u00e8s raf\ufb01n\u00e9es par les collectionneurs chinois. Elles ont suscit\u00e9 l\u2019int\u00e9r\u00eat des occidentaux qui ont vu l\u00e0 une similitude avec les collages de Braque ! En fait, il est vrai que le peintre a d\u00e9construit le r\u00e9el dans un cas comme dans l\u2019autre. Au XIXe si\u00e8cle, ce type d\u2019\u0153uvre est r\u00e9pandu. Yang Weiquan ouvre une petite boutique \u00e0 Shanghai o\u00f9 est pr\u00e9sent\u00e9e sa production peinte. Sa r\u00e9putation lui permet de rejoindre le \u00ab groupe des peintres chinois \u00bb (Zhonguo huahui) et de participer \u00e0 leurs expositions[2]<\/a>. Cette \u0153uvre sign\u00e9e et situ\u00e9e \u00e0 Shanghai est tr\u00e8s caract\u00e9ristique de la production de Yang.<\/p>\n

Cette forme artistique na\u00eet d\u2019une part des recueils d\u2019antiquit\u00e9s publi\u00e9s d\u00e8s les Song et d\u2019autre part d\u2019une conception particuli\u00e8re de la \u00ab nature morte \u00bb qui d\u00e9note un go\u00fbt fort pour les antiquit\u00e9s : estampages de r\u00e9cipients de bronze comm\u00e9moratifs, c\u00e9ramiques, gravures\u2026 L\u2019\u0153uvre ici repr\u00e9sent\u00e9e a la forme d\u2019un sceptre d\u2019autorit\u00e9 (ruyi), forme dont Yang a laiss\u00e9 d\u2019autres compositions. Le jeu entre les estampages en noir ou en gris plus ou moins profond est rehauss\u00e9 par les d\u00e9bris de reliures en papier, \ufb02\u00e9tries et rong\u00e9es par l\u2019acidit\u00e9 du papier aux coloris surann\u00e9s. Ultime \u00e9l\u00e9ment d\u00e9coratif, lui aussi imm\u00e9diatement g\u00e2ch\u00e9, cette femme, \u00e0 la partie sup\u00e9rieure de l\u2019\u0153uvre, occup\u00e9e \u00e0 contempler les lotus en pleine \ufb02oraison. Le sujet se prolonge sur quatre lamelles d\u2019\u00e9ventail, incompl\u00e8tes et submerg\u00e9es parmi cet ensemble de t\u00e9moignages pass\u00e9s.<\/p>\n

Des huit cassures aux collages en tissu<\/strong><\/p>\n

Depuis que la Chine a regagn\u00e9 un statut social qui a entra\u00een\u00e9 avec notamment l\u2019entr\u00e9e du pays \u00e0 l\u2019OMC, une vision autre de l\u2019\u0153uvre d\u2019art, standard de vie, d\u2019une vie o\u00f9 l\u2019oeuvre est aussi un produit culturel destin\u00e9 \u00e0 une classe sociale nantie, les artistes se sont int\u00e9ress\u00e9s \u00e0 ce type de pi\u00e8ce. On trouve ainsi des bribes du Quotidien du Peuple<\/em> avec des images des d\u00e9cennies pass\u00e9es.<\/p>\n

Les articles en chinois et en anglais accompagnant cette pr\u00e9sentation succincte montrent le regain d\u2019int\u00e9r\u00eat pour cette forme de cr\u00e9ation\u00a0: d\u2019une part des artistes chinois s\u2019attachent \u00e0 copier avec entrain des motifs puis\u00e9s dans les recueils d\u2019antiquit\u00e9s, estampages, motifs c\u00e9ramiques, journaux,\u2026 qui ram\u00e8nent au plaisir des \u00e9vocations historiques plus ou moins r\u00e9trospectives. De l\u2019autre, le mus\u00e9e des Beaux-arts de Boston a, l\u2019an dernier, \u00e0 l\u2019initiative de Nancy Berliner, fait une premi\u00e8re exposition sur le sujet.<\/p>\n

Ces collages dont quelques images sont propos\u00e9es ci-apr\u00e8s, me semblent un bon prolongement aux trompe-l\u2019\u0153il en huit cassures. Le propos est ici tout \u00e0 fait autre\u00a0: il s\u2019agit de la r\u00e9cup\u00e9ration des tissus les plus divers, leur superposition en plusieurs couches permet en g\u00e9n\u00e9ral de r\u00e9aliser des semelles pour les chaussures traditionnelles de type espadrilles pour trouver une comparaison approchante. Lors du travail de r\u00e9cup\u00e9ration des tissus effectu\u00e9 par des femmes du Nord de la Chine, ce processus de r\u00e9utilisation des mat\u00e9riaux s\u2019accompagne d\u2019un bon sens et aussi d\u2019un go\u00fbt pour leur disposition sur une surface o\u00f9 des zones de plein et de vide sont reconstitu\u00e9es avec une facilit\u00e9 apparente, ce qui est une fa\u00e7on de montrer la proximit\u00e9 de ces personnes avec les grands principes du plein et du vide qui contr\u00f4lent les structures de toutes \u0153uvres. Ces nouvelles abstractions<\/em> sont une nouvelle approche \u00e0 une forme esth\u00e9tique a priori ignor\u00e9e, forme que Fran\u00e7ois Dautresme avait, voil\u00e0 une quarantaine d\u2019ann\u00e9es, d\u00e9j\u00e0 rep\u00e9r\u00e9e sur son terrain familier, la Chine et ses r\u00e9gions magiques.<\/p>\n

[1]<\/a> Selon Adeline Zhu, une de ses fid\u00e8les collaboratrices, \u00ab\u00a0Fran\u00e7ois Dautresme allait dans les r\u00e9gions au Nord du Fleuve Jaune trouver les centres de production de ces collages. Il est cependant toujours rest\u00e9 tr\u00e8s discret sur les lieux exacts des provenances\u00a0\u00bb.<\/p>\n

[2]<\/a>\u00a0\u00a0 Voir l\u2019article de Nancy Berliner, \u00ab Questions of authorship in \u201cbapo\u201d : trompe-l\u2019\u0153il, in 20th century Shanghai \u00bb, colloque Les Grandes expositions chinoises \u00e0 Paris, 12 d\u00e9cembre 1998, Paris, CREOPS-Sorbonne, 1998.<\/p>\n

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Flyer du mus\u00e9e chinois du quotidien (juin 2018).<\/p><\/div>\n

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Fran\u00e7oise Dautresme dans la r\u00e9serve de Saint-Denis (juil. 2017). Plusieurs collages sont expos\u00e9s avec d\u2019autres objets propitiatoires.<\/p><\/div>\n

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\u516b\u7834\u56fe<\/span><\/strong><\/p>\n

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\u4e2d\u6587\u540d<\/strong>\u516b\u7834\u56fe \u53c8<\/strong>\u00a0\u00a0\u00a0\u00a0<\/strong>\u540d<\/strong>\u9526\u7070\u5806\uff0c\u96c6\u7834\u3001\u201d\u201c\u96c6\u73cd\u201d<\/p>\n

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\u8d77\u6e90<\/strong><\/p>\n

\u7f16\u8f91<\/p>\n

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\u73b0\u72b6<\/strong><\/p>\n

\u7531\u4e8e\u7ed8\u5236\u201c\u9526\u7070\u5806\u201d\u6280\u672f\u542b\u91cf\u9ad8\uff0c\u7ed8\u753b\u8005\u9700\u591a\u624d\u591a\u827a\uff0c\u8981\u5584\u5199\u771f\u3001\u8349\u3001\u96b6\u3001\u7bc6\u4ee5\u53ca\u80fd\u6a21\u4eff\u5404\u5bb6\u5b57\u4f53\u548c\u5584\u753b\u82b1\u9e1f\u9c7c\u866b\u3001\u5c71\u6c34\u4eba\u7269\uff0c\u719f\u77e5\u5404\u79cd\u7891\u62d3\u3001\u9752\u94dc\u5668\u9020\u578b\u3001\u80fd\u7bc6\u523b\u5404\u79cd\u5370\u7ae0\u3001\u719f\u77e5\u53e4\u4ee3\u5f53\u7968\u3001\u90ae\u7968\u7b49\u4e8b\u7269\u6837\u5f0f\u7b49\u7b49\u7edd\u6d3b\u3002\u5236\u4f5c\u96be\u5ea6\u5927\uff0c\u8017\u65f6\u4e4b\u957f\uff0c\u80dc\u4efb\u8005\u6781\u5c11\uff0c\u6240\u4ee5\u65e5\u6e10\u840e\u7f29\uff0c\u7ec8\u6210\u7edd\u54cd\u3002\u89e3\u653e\u524d\u540e\u6781\u5c11\u5584\u753b\u8005\u56e0\u5e74\u4e8b\u5df2\u9ad8\u96be\u4ee5\u80dc\u4efb\uff0c\u4f7f\u201c\u9526\u7070\u5806\u201d\u8fd9\u4e00\u4f20\u7edf\u6280\u827a\u8d70\u5411\u5931\u4f20\u3002<\/p>\n

\u5386\u4ee3\u753b\u5bb6\uff1a<\/p>\n

\u7531\u4e8e\u201c\u9526\u7070\u5806\u201d\u7ed8\u5236\u96be\u5ea6\u5927\uff0c\u8981\u6c42\u6280\u672f\u542b\u91cf\u9ad8\uff0c\u6240\u4ee5\u7ed8\u5236\u201c\u9526\u7070\u5806\u201d\u7684\u753b\u5bb6\u6781\u5c11\u3002\u6709\u6587\u732e\u8bb0\u8f7d\u7684\u66f4\u5be5\u5be5\u65e0\u51e0\uff0c\u901a\u8fc7\u73b0\u5b58\u7684\u4f5c\u54c1\u4e2d\u548c\u6709\u5173\u8d44\u6599\u663e\u793a\uff0c\u201c\u9526\u7070\u5806\u201d\u753b\u5bb6\u6709\uff1a<\/p>\n

\u5434\u534e<\/p>\n

\u5b8b\u5c71<\/p>\n

\u97e9\u82f1<\/p>\n

\u94ae\u4f20\u793c\u5b57\u5c0f\u5ddd\uff081921-2005\u5e74\uff09\uff0c<\/p>\n

\u5f18\u6cd5\u6df1<\/p>\n

\u674e\u94f8\u9752<\/p>\n

\u6731\u656c\u4e94<\/p>\n

\u90d1\u5de6\u8fb0<\/p>\n

\u674e\u6210\u534e<\/p>\n

\u9648\u4e8c\u6307<\/p>\n

\u6768\u8c13\u6cc9\uff08\u6768\u8c13\u6cc9\u6b3e\u5747\u4e3a\u90d1\u8fbe\u752b\u6240\u505a\uff09<\/p>\n

\uff08\u4ee5\u4e0a\u753b\u5bb6\u53ca\u4f5c\u54c1\u7167\u7247\u7531\u7f8e\u56fd\u76ae\u535a\u8fea\u535a\u7269\u9986\u63d0\u4f9b\uff09<\/p>\n

\u80e1\u5584\u8ff0\uff08\u65e0\u76f8\u5173\u8d44\u6599\uff0c\u5357\u4eac\u6c11\u95f4\u85cf\u6709\u5176\u201c\u9526\u7070\u5806\u201c\u753b\u4f5c\uff09\u3002<\/p>\n

\u8881\u5c11\u752b<\/p>\n

\u90d1\u8fbe\u752b(1891\uff5e1956\u5e74)\uff0c\u636e\u65b0\u7f16\u300a\u9547\u6d77\u53bf\u5fd7\u300b\u201c\u4eba\u7269\u4f20\u201d\u8bb0\u8f7d\uff0c\u9547\u6d77\u6d66\u9547\u5341\u4e03\u623f\u90d1\u6c0f\u4eba\uff0c\u4ed6\u201c\u5bb6\u8d2b\u5c11\u5b64\uff0c\u5728\u5bb6\u4e61\u5c0f\u5b66\u4efb\u6559\uff0c\u6027\u559c\u7ed8\u753b\uff0c\u5c24\u64c5\u4e34\u6479\u201d\u300220\u4f59\u5c81\u65f6\u5230\u6148\u6eaa\u4e00\u5e97\u94fa\u53f8\u8d26\uff0c\u540e\u6765\u5230\u4e86\u4e0a\u6d77\uff0c\u9760\u5356\u753b\u4e3a\u751f\u3002<\/p>\n

\u5f53\u65f6\u4e0a\u6d77\u6709\u4e2a\u798f\u5efa\u5546\u4eba\u6768\u6e2d\u6cc9\uff0c\u597d\u7b14\u58a8\u800c\u4e0d\u5584\u753b\u3002\u4ed6\u7ed3\u8bc6\u4e86\u90d1\u8fbe\u752b\u540e\uff0c\u4fbf\u4f7f\u4e86\u4e2a\u79fb\u82b1\u63a5\u6728\u7684\u6b6a\u62db\uff0c\u5e72\u8106\u5ef6\u7559\u90d1\u8fbe\u752b\u5728\u5bb6\uff0c\u4e13\u95e8\u4e3a\u5176\u4ee3\u7b14\u4f5c\u753b\u3002\u800c\u90d1\u8fbe\u752b\u6b64\u65f6\u751f\u6d3b\u7a98\u8feb\uff0c\u6709\u4eba\u9080\u4ed6\u4ee3\u7b14\uff0c\u81ea\u662f\u6b23\u559c\u3002<\/p>\n

\u6709\u4e86\u7a33\u5b9a\u7684\u4ee3\u7b14\u4eba\uff0c\u7cbe\u4e8e\u8c0b\u5212\u7684\u6768\u6e2d\u6cc9\uff0c\u4fbf\u4ee5\u81ea\u5df1\u7684\u540d\u4e49\u5927\u767b\u5e7f\u544a\uff0c\u5439\u5618\u81ea\u5df1\u5de5\u4e8e\u7ed8\u5236\u201c\u9526\u7070\u5806\u201d\u3002\u6bcf\u5e45\u753b\u51fa\u552e\u6240\u5f97\u5229\u6da6\uff0c\u6768\u90d1\u4e8c\u4eba\u516d\u56db\u5206\u8d26\uff0c\u90d1\u8fbe\u752b\u8fd8\u8981\u81ea\u8d39\u8d2d\u4e70\u7b14\u58a8\u989c\u6599\u7b49\u3002\u8fd9\u79cd\u5947\u602a\u7684\u5408\u4f19\u751f\u610f\u4e00\u76f4\u505a\u4e8620\u6765\u5e74\uff0c\u6768\u6e2d\u6cc9\u4e00\u76f4\u5750\u4eab\u540d\u5229\u3002\u540e\u6765\u6218\u4e71\u4e00\u8d77\uff0c\u5931\u53bb\u4e86\u7ed8\u753b\u751f\u610f\u7684\u5ba2\u6e90\uff0c\u90d1\u8fbe\u752b\u6210\u4e86\u201c\u5e9f\u89d2\u6599\u201d\uff0c\u6768\u6e2d\u6cc9\u4fbf\u6beb\u4e0d\u7559\u60c5\u5730\u628a\u4ed6\u8d76\u4e86\u51fa\u53bb\u3002<\/p>\n

\u56e0\u6b64\uff0c\u76ee\u524d\u5728\u53e4\u73a9\u5e02\u573a\u4e2d\u6d41\u901a\u7684\u5de5\u7b14\u7ed8\u5236\u201c\u6b8b\u753b\u201d\uff0c\u51e1\u843d\u6b3e\u4e3a\u201c\u53e4\u95fd\u6768\u6e2d\u6cc9\u201d\u7684\uff0c\u7686\u662f\u90d1\u8fbe\u752b\u7684\u65e7\u4f5c\u3002<\/p>\n

\"\"<\/a>

\u73b0\u4ee3\u9526\u7070\u5806<\/p><\/div>\n

\u90d1\u8fbe\u752b\u88ab\u8feb\u56de\u5bb6\u540e\uff0c\u4e0d\u5f97\u5df2\u53ea\u597d\u4ee5\u6253\u67f4\u3001\u5356\u70e7\u997c\u8ba8\u751f\u6d3b\uff0c\u6b64\u65f6\u4ed6\u4ecd\u575a\u6301\u753b\u753b\u3002\u89e3\u653e\u540e\uff0c\u8fd9\u6bb5\u9690\u79d8\u88ab\u4eba\u6345\u7834\uff0c\u4ed6\u6240\u7ed8\u201c\u9526\u7070\u5806\u201d\u88ab\u9080\u53c2\u52a0\u5168\u56fd\u7b2c\u4e8c\u5c4a\u7f8e\u5c55\uff0c\u9996\u6b21\u56de\u5f52\u4e3b\u4eba\u540d\u4e0b\u3002\u90d1\u8fbe\u752b\u4e5f\u968f\u5373\u88ab\u4e0a\u6d77\u5e02\u6587\u53f2\u9986\u8058\u4e3a\u9986\u5458\uff0c\u53d7\u5230\u4eba\u4eec\u7684\u5c0a\u656c\u3002<\/p>\n

\u59da\u534e\uff081876—1930\uff09<\/p>\n

\u5b57\u91cd\u5149\u3001\u53f7\u832b\u592b\u3002\u8d35\u5dde\u7701\u8d35\u9633\u4eba\uff0c\u751f\u4e8e\u6e05\u5149\u7eea\u4e8c\u5e74\uff0c\uff081876\u5e74\uff09\u5352\u4e8e\u6c11\u56fd19\u5e74\uff081930\u5e74\uff09\u3002\u4e00\u751f\u4e3b\u8981\u6d3b\u52a8\u5728\u5317\u4eac\uff0c\u4ed6\u5728\u8bd7\u6587\u3001\u8bcd\u3001\u66f2\u3001\u7891\u3001\u7248\u53ca\u53e4\u5668\u7684\u8003\u636e\u548c\u97f3\u97f5\u65b9\u9762\u90fd\u6709\u5f88\u9ad8\u7684\u6210\u5c31\u3002\u5bf9\u4e8e\u4e2d\u56fd\u53e4\u4ee3\u4f20\u7edf\u6587\u5316\u4e0a\u8fdb\u884c\u4e86\u6bd4\u8f83\u5e7f\u6cdb\u7684\u6d89\u8db3\uff0c\u5728\u8fd1\u4ee3\u7f8e\u672f\u53f2\u4e0a\u505a\u51fa\u4e86\u4e30\u5bcc\u7684\u7406\u8bba\u65b9\u9762\u7684\u8d21\u732e\u3002\u59da\u832b\u592b\u5148\u751f\u53d6\u201c\u6cf0\u5c71\u4e8c\u5341\u4e5d\u5b57\u201d\u6b8b\u7891\u505a\u9896\u62d3\uff0c\u90ed\u6cab\u82e5\u8d5e\u4e3a\uff1a\u201c\u832b\u592b\u9896\u62d3\u5b9e\u53e4\u4eca\u6765\u522b\u5f00\u751f\u9762\u4e4b\u5947\u753b\u4e5f\u201d\u3002\u90d1\u632f\u94ce\u79f0\u4e3a\uff1a\u201c\u5927\u80c6\u7684\u521b\u9020\u6027\u7684\u827a\u672f\u52b3\u52a8\u201d\u3002\u832b\u592b\u5148\u751f\u535a\u89c8\u591a\u8bc6\uff0c\u4ed6\u66fe\u4e3a\u9648\u5e08\u66fe\u5148\u751f\u62df\u6c49\u753b\u50cf\u9898\u8bcd\u66f0\uff1a\u5e08\u66fe\u5584\u4e3a\u6c49\u753b\u50cf\u77f3\u523b\u800c\u53d8\u5316\u4e8e\u5df1\uff0c\u80fd\u4ee5\u4e0d\u7f8e\u4e3a\u7f8e\uff0c\u5c3d\u7eb3\u598d\u5999\u4e8e\u9ad8\u53e4\u4e4b\u4e2d\u3002\u5148\u751f\u7684\u753b\u4f5c\u66fe\u88ab\u9c81\u8fc5\u5148\u751f\u6536\u5165\u300a\u5317\u5e73\u7b3a\u8c31\u300b\uff0c\u5e76\u8d5e\u4e3a\uff1a\u201c\u5927\u76db\u5219\u5e08\u66fe\u3001\u832b\u592b……\u4e4b\u65f6\u4ee3\u3002\u201d\u8fd9\u65e0\u7591\u662f\u5bf9\u5148\u751f\u521b\u9020\u7684\u52b3\u52a8\u9ad8\u5ea6\u8d5e\u626c\u3002<\/p>\n

\u5218\u4fdd\u7b60\uff081901—1951\uff09\u5218\u4fdd\u7b60\uff1a\u5b57\u7af9\u658b\u30021901\u5e74\u751f\u4e8e\u6cb3\u5317\u6dbf\u5dde\uff0c1951\u5e74\u5352\u4e8e\u5317\u4eac\u3002\u53d7\u59da\u832b\u7236\u5148\u751f\u5f71\u54cd\uff0c\u7cbe\u4e8e\u201c\u9526\u7070\u5806\u201d\u3002\u4e8e\u9f50\u767d\u77f3\u3001\u80e1\u4f69\u8861\u3001\u738b\u68a6\u767d\u3001\u8096\u8c26\u4e2d\u3001\u9648\u534a\u4e01\u7b49\u5747\u4e3a\u753b\u53cb\u3002\u6c11\u56fd\u540e\u671f\u5148\u751f\u4efb\u804c\u53bf\u59d4\u515a\u90e8\u548c\u7701\u59d4\u515a\u90e8\uff0c\u540e\u88ab\u9009\u4e3a\u56fd\u5927\u4ee3\u8868\uff0c\u6709\u6e05\u6b63\u5ec9\u6d01\u4e4b\u653f\u540d\u30021944\u5e74\u4ee5\u540e\u5c45\u5317\u4eac\uff0c\u4f4f\u5b85\u5728\u65b0\u8857\u53e3\u9644\u8fd1\uff0c\u4e8e\u9f50\u767d\u77f3\u94c1\u6805\u8001\u5c4b\u4e3a\u8fd1\u90bb\uff0c\u6545\u4e8e\u767d\u77f3\u5148\u751f\u4ea4\u6e38\u8f83\u591a<\/p>\n

\u5b8b\u7ffc\u9752\uff081918—2007\uff09<\/p>\n

\u9526\u7070\u5806\u5b8b\u7ffc\u9752\uff0c\u5b57\u4e91\u7a0b\uff0c\u53c8\u540d\u4ea6\u537f\uff0c1918\u5e74\u751f\u4e8e\u6dbf\u5dde\u57ce\u897f\u5357\u8302\u7530\u5e84\u3002\u65e9\u5e74\u5c31\u5b66\u4e8e\u7537\u9ad8\u5c0f\u3001\u80b2\u624d\u4e2d\u5b66\uff0c\u6587\u5b66\u3001\u4e66\u6cd5\u3001\u7bc6\u523b\u53d7\u4e1a\u4e8e\u5468\u8446\u751f\u3001\u5f90\u5e7c\u5b97\u3001\u5218\u8446\u7b60\uff0c\u7ed8\u753b\u53d7\u6559\u4e8e\u67f3\u6c40\u5148\u751f\uff0c\u4e3a\u738b\u5148\u751f\u65e9\u5e74\u5f1f\u5b50\u3002\u516d\u5341\u5e74\u4ee3\uff0c\u7ecf\u6c11\u56fd\u540d\u533b\u5434\u5f69\u81e3\u5148\u751f\u4ecb\u7ecd\uff0c\u5f97\u8bc6\u9f50\u749c\u5927\u5f1f\u5b50\u4e24\u77f3\u7fc1\u738b\u94f8\u4e5d\u5148\u751f\uff0c\u5e76\u4e0e\u4e4b\u4ea4\u6e38\u3002\u5b8b\u6c0f\u5148\u540e\u4ece\u4e1a\u4e8e\u5c0f\u5b66\u6559\u5e08\u3001\u53bf\u653f\u5e9c\u79d8\u4e66\u3001\u53bf\u6587\u5316\u9986\u804c\u5458\uff0c\u4e0a\u4e16\u7eaa\u516b\u5341\u5e74\u4ee3\u4e8e\u5546\u4e1a\u673a\u68b0\u5382\u9000\u4f11\u3002\u7a7a\u6709\u7edd\u4e16\u7ed8\u753b\u5929\u624d\uff0c\u800c\u56f0\u5b88\u5c0f\u57ce\uff0c\u90c1\u90c1\u4e0d\u5f97\u5fd7\u3002\u5148\u751f\u65e9\u5e74\u53d7\u67f3\u6c40\u5148\u751f\u753b\u98ce\u5f71\u54cd\uff0c\u4ee5\u82b1\u5349\u3001\u9e1f\u866b\u4e3a\u4e3b\uff0c\u540e\u5f97\u4e24\u77f3\u7fc1\u5fc3\u6388\uff0c\u7b14\u58a8\u62d9\u6734\u3001\u5178\u96c5\u800c\u6709\u5bcc\u8d35\u6c14\u3002\u5148\u751f\u5c24\u64c5\u753b\u201c\u9526\u7070\u5806\u201d\uff08\u53c8\u540d\u516b\u7834\uff09\uff0c\u53d7\u5f20\u6d77\u82e5\u753b\u98ce\u5f71\u54cd\uff0c\u5f97\u5218\u7af9\u658b\u771f\u4f20\uff0c\u5176\u201c\u516b\u7834\u201d\u51a0\u7edd\u5f53\u4ee3\u753b\u575b\u800c\u65e0\u96c1\u884c\u8005\u3002\u7ffc\u9752\u6dbf\u5dde\u753b\u53cb\u6709\u5f20\u66fe\u626c\u3001\u90ed\u7b03\u6c11\u3001\u7126\u6da6\u4e4b\u3001\u738b\u6068\u5e9a\u3001\u738b\u81ea\u5174\u7b49\uff0c\u7686\u6dbf\u5dde\u753b\u754c\u4fca\u5f66\u3002\u5df2\u6545\u3002<\/p>\n

\u9526\u7070\u5806\u4f20\u627f\u4eba\uff1a<\/p>\n

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\u4e3a\u66f4\u597d\u7684\u4f20\u627f\u548c\u4fdd\u62a4\u201c\u9526\u7070\u5806\u201d\u8fd9\u4e00\u4f18\u79c0\u7684\u4f20\u7edf\u6280\u827a\uff0c\u8fd1\u51e0\u5e74\u6765\u4e13\u653b\u201c\u9526\u7070\u5806\u201d\u7684\u521b\u4f5c\u6280\u6cd5\uff0c\u5e76\u5728\u4e0d\u65ad\u5b66\u4e60\u524d\u4eba\u7ed8\u753b\u6280\u6cd5\u4e2d\u4e0d\u65ad\u7814\u53d1\u51fa\u81ea\u5df1\u7279\u6709\u7684\u521b\u4f5c\u6280\u6cd5\u3002\u6210\u4e3a\u65b0\u4e2d\u56fd\u5efa\u7acb\u540e\u201c\u9526\u7070\u5806\u201d\u827a\u672f\u7b2c\u4e00\u4f4d\u4f20\u4eba\uff0c\u5176\u4f5c\u54c1\u591a\u6b21\u5728\u56fd\u5185\u5916\u5c55\u51fa\uff0c\u5df2\u6210\u4e3a\u5f53\u4eca\u6536\u85cf\u7231\u597d\u8005\u624b\u4e2d\u7684\u73cd\u54c1\u3002<\/p>\n

\u803f\u5b66\u77e5\uff0c\u803f\u7389\u6d32\u4e4b\u5b50\uff0c1973\u5e74\u751f\u4e8e\u5c71\u4e1c\u6dc4\u535a\uff0c\u53f7\u6843\u6e90\u5c45\u58eb\u3001\u6843\u82b1\u6e90\u658b\u4e3b\u4eba\u3002\u5e7c\u65f6\u8d2a\u73a9\u4e0d\u613f\u4ee5\u4e66\u753b\u4e3a\u4f0d\uff0c\u9752\u5e74\u65f6\u5f97\u7236\u4eb2\u53cb\u4eba\u4eec\u76f8\u529d\u59cb\u968f\u7236\u4e60\u753b\u3002\u5e08\u6cd5\u4efb\u4f2f\u5e74\u3001\u5434\u660c\u7855\u7b49\u6d77\u6d3e\u6587\u4eba\u753b\u5bb6\u300294\u5e74\u51ac\u968f\u7236\u8fc1\u4f4f\u79e6\u7687\u5c9b\uff0c\u7ed3\u8bc6\u674e\u58ee\u9601\u3001\u674e\u82f1\u3001\u4e01\u5b9d\u680b\u3001\u5b8b\u5b9d\u987a\u7b49\u4e66\u753b\u540d\u5bb6\u5e76\u5f97\u5176\u7cbe\u5fc3\u6307\u6559\uff0c\u5e76\u4e0e\u4e54\u6d77\u5149\u3001\u5218\u5b8f\u7b49\u9752\u5e74\u753b\u5bb6\u4e3a\u53cb\u6574\u65e5\u7814\u8ba8\u4e66\u753b\u30022006\u5e74\u968f\u7236\u803f\u7389\u6d32\u5b66\u4e60\u9526\u7070\u5806\u521b\u4f5c\u81f3\u4eca\u3002\u73b0\u4e3a\u4e2d\u56fd\u9526\u7070\u5806\u827a\u672f\u7b2c\u56db\u4ee3\u4f20\u627f\u4eba,\u56fd\u5bb6\u4e00\u7ea7\u7f8e\u672f\u5e08.<\/p>\n

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\u201c\u9526\u7070\u5806\u201d\u827a\u672f\u5728\u7b2c\u4e09\u4ee3\u4f20\u4eba\u803f\u7389\u6d32\u548c\u7b2c\u56db\u4ee3\u4f20\u4eba\u803f\u5b66\u77e5\u7684\u4f20\u627f\u548c\u591a\u5e74\u7684\u63a2\u7d22\u7814\u7a76\u4e0b\uff0c\u589e\u52a0\u4e86\u65b0\u7684\u6280\u6cd5\uff0c\u52a0\u5165\u4e86\u65b0\u7684\u4e3b\u9898\uff0c\u4f7f\u201c\u9526\u7070\u5806\u201d\u8fd9\u4e00\u53e4\u8001\u827a\u672f\u6709\u4e86\u65b0\u7684\u6d3b\u529b\u30022010\u5e74\u81f32011\u5e74\u803f\u5b66\u77e5\u521b\u4f5c\u7684\u300a\u7389\u5154\u8fce\u6625\u300b\u3001\u300a\u6b8b\u7834\u7f8e\u7684\u827a\u672f\u9526\u7070\u5806\u300b\u3001\u300a\u5149\u8f89\u5386\u7a0b\u300b\u7b49\u4f5c\u54c1\u591a\u6b21\u88ab\u65b0\u534e\u793e\u53d1\u5e03\u4e3a\u5168\u56fd\u901a\u7a3f\u3002\u300a\u4eba\u6c11\u65e5\u62a5\u300b\u6d77\u5916\u7248\u3001\u300a\u5149\u660e\u65e5\u62a5\u300b\u3001\u300a\u4e2d\u56fd\u6587\u5316\u62a5\u300b\u3001\u300a\u79d1\u6280\u65e5\u62a5\u300b\u7b49\u591a\u5bb6\u62a5\u520a\u53ca\u4e2d\u56fd\u653f\u5e9c\u7f51\u3001\u4e2d\u56fd\u65b0\u95fb\u7f51\u3001\u4e2d\u592e\u7535\u89c6\u53f0\u3001\u4e2d\u592e\u4eba\u6c11\u5e7f\u64ad\u7535\u53f0\u548c\u5404\u7701\u5e02\u65b0\u95fb\u5a92\u4f53\u591a\u6b21\u62a5\u9053\u4e86\u803f\u6c0f\u7236\u5b50\u7684\u201c\u9526\u7070\u5806\u201d\u827a\u672f\u3002<\/p>\n

2009\u5e74\u803f\u6c0f\u7236\u5b50\u5f00\u59cb\u7740\u624b\u6574\u7406\u548c\u4e66\u5199\u6709\u5173\u201c\u9526\u7070\u5806\u201d\u7684\u5386\u53f2\u6e0a\u6e90\u3001\u73b0\u72b6\u3001\u53d1\u5c55\u53ca\u7ed8\u5236\u7b49\u591a\u4e2a\u65b9\u9762\u7684\u6587\u5b57\u8d44\u6599\uff0c\u5e76\u5c06\u201c\u9526\u7070\u5806\u201d\u8fd9\u4e00\u53e4\u8001\u827a\u672f\u7533\u62a5\u4e86\u975e\u7269\u8d28\u6587\u5316\u9057\u4ea7\u3002<\/p>\n

2011\u5e745\u6708\uff0c\u7f8e\u56fd\u76ae\u535a\u8fea\u535a\u7269\u9986\u201c\u9526\u7070\u5806\u201d\u7814\u7a76\u4e13\u5bb6\u5357\u5e0c\u5973\u58eb\u548c\u803f\u6c0f\u7236\u5b50\u5728\u5317\u4eac\u4f1a\u9762\uff0c\u5728\u5bf9\u803f\u6c0f\u7236\u5b50\u201c\u9526\u7070\u5806\u201d\u827a\u672f\u7684\u4f20\u627f\u548c\u53d1\u626c\u7684\u80af\u5b9a\u4e0b\uff0c\u8fd8\u7ed9\u4e88\u4e86\u5927\u91cf\u7684\u201c\u9526\u7070\u5806\u201d\u8d44\u6599\u548c\u4f5c\u54c1\u7167\u7247\uff0c\u5e76\u9080\u8bf7\u803f\u6c0f\u7236\u5b50\u53c2\u52a0\u5373\u5c06\u4e3e\u529e\u7684\u201c\u9526\u7070\u5806\u2019150\u5e74\u4e16\u754c\u5de1\u5c55\u3002<\/p>\n

\uff08source \uff1a site baike.baidu.com\/item\/<\/a>\u516b\u7834\u56fe, en chinois.<\/p>\n

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BOSTON (June 2, 2017)\u2014This summer, the Museum of Fine Arts, Boston (MFA), opens China\u2019s 8 Brokens: Puzzles of the Treasured Past<\/em><\/a>, the first-ever museum exhibition dedicated to bapo<\/em> (\u201ceight brokens\u201d) painting, a revolutionary artistic genre that emerged in China during the mid-19th century. Bapo<\/em> refers to the damaged cultural ephemera hyper-realistically depicted in the works\u2014worm-eaten calligraphies, partial book pages, burned paintings, remnants of rubbings and torn-open letters. The term \u201ceight brokens\u201d also alludes to the hidden messages of the images\u2014often wishes for good fortune. Eight is a lucky number in Chinese culture, and broken, or less-than-complete, objects can also have favorable implications, since perfection could bring about misfortune. The art form was largely forgotten after 1949, but has recently been rediscovered by contemporary artists and collectors, prompting curators to decipher the meaning of the images, and solve the puzzle of the paintings. The MFA houses the largest museum collection of bapo<\/em> paintings, and 32 new acquisitions are on view to the public for the first time in this exhibition of more than 40 works, which also features important loans from museums and private collections located in the US and Asia. China\u2019s 8 Brokens: Puzzles of the Treasured Past<\/em> is on view in the Lee Gallery from June 17 through October 19, 2017, and an illustrated publication\u2014the first to focus on bapo<\/em> painting\u2014is planned for release in 2018. Presented with generous support from the Tan Family Education Foundation. Additional support from the Dr. Lawrence H. and Roberta Cohn Exhibition Fund, the Joel Alvord and Lisa Schmid Alvord Fund, the Roger and Dawn Nordblom Fund for Chinese Paintings in Honor of Marjorie C. Nordblom, and The June N. and John C. Robinson Fund for Chinese Paintings in Honor of Marjorie C.\u00a0Nordblom. <\/em><\/p>\n

China\u2019s 8 Brokens: Puzzles of the Treasured Past<\/em> showcases the finest examples of bapo<\/em> painting dating back to the 19th century alongside three-dimensional decorative and functional objects that feature bapo<\/em> imagery, such as porcelain plates and inner-painted snuff bottles. Additionally, the exhibition showcases how the genre visually resonates with European and American trompe l\u2019oeil<\/em> (\u201cfool the eye\u201d) paintings, as well as how contemporary Chinese artists are reviving the bapo<\/em>\u00a0aesthetic.<\/p>\n

\u201cMany of the bapo <\/em>paintings\u2014with their deteriorating remnants of traditional culture\u2014are declarations of mourning for the past, but others are filled with humor and hidden messages. The exhibition is designed to assist viewers in decoding and delighting in these puzzles,\u201d said Nancy Berliner, the MFA\u2019s Wu Tung Curator of Chinese Art, who organized the exhibition and was the first scholar to undertake a thorough study of bapo<\/em>\u00a0painting.<\/p>\n

Bapo<\/em> dates back to the mid-19th century, when a number of artists across China departed from the age-old subjects of landscapes and figures. Instead, they began to paint illusionistic compositions that depict deteriorating fragments of cultural treasures of the past, arranged in a haphazard manner. Although bapo<\/em> works bear a resemblance to European and American trompe l\u2019oeil paintings and modern collages, the aesthetic grew directly out of Chinese visual traditions. The practice of pasting multiple cherished calligraphies or paintings on a single panel, such as a screen, first arose in 8th-century China. It flourished again in the 17th century, reflecting a penchant among some nouveau riche<\/em> for flaunting the plentitude of their personal collections. After centuries of pasting and fastidiously reproducing ancient masterworks, some artists began to create disorderly representations of decomposing papers and artifacts, creating a surprising new genre that carried into the 20th\u00a0century.<\/p>\n

As bapo<\/em> spread from town to town and artist to artist, styles proliferated and meanings multiplied. Clever artists hid layers of meaning within their assemblages, and clever viewers took on the enticing challenge of deciphering them. Often, these unconventional works reflected conventional messages, such as mourning for the past. In Willing to Reside in a Shabby Alley<\/em> (1945) by Chen Bingchang (1896\u20131971), four characters on an imprinted seal within the composition translate literally to \u201cprotect the deficient and look after that which is lacking\u201d\u2014that is, to cherish broken and worn-out things. The ancient expression dates back at least 2,000 years and echoes the bapo<\/em> sentiments of treasuring even the damaged remnants of the past. Another traditional message frequently incorporated into bapo<\/em> paintings was wishing for good fortune. In Scepter<\/em> (1950), Zheng Zuochen (1891\u20131956) formed his collage of finely limned papers into the shape of a ruyi<\/em>, a traditional Chinese scepter. The word ruyi translates literally to \u201cmay you achieve all you desire,\u201d and the Chinese viewer would immediately recognize the shape and its intended meaning. Likewise, in a 1934 work attributed to Yang Weiquan (1885\u2013after 1940), the paper fragments form a rock\u2014a symbol of longevity in\u00a0China.<\/p>\n

For socially aspiring patrons, bapo<\/em> paintings also offered an opportunity to flaunt their own sophistication. Traditional Chinese society held scholars and their lifestyle in the highest regard, and many of the items seen in bapo<\/em> works are the paper accoutrements of the literati life\u2014ancient artworks, classic writings and treasured artifacts from antiquity. The ability to distinguish a famous poem or artwork was proof of cultural sophistication. Lotus Summer of the Xinghai Year<\/em> (1911) by Liu Lingheng (1870\u20131949), for example, contains a painting within a painting. The full, open fan seen at the top bears a monochrome landscape\u2014an imitation of the 18th-century artist Wang\u00a0Hui.<\/p>\n

Some artists hid political commentary within bapo<\/em> paintings. The 19th century was a disastrous time in China, filled with violent domestic rebellions and invasions from British and French forces\u2014only a preface to further destruction during the 20th century, which brought more incursions by foreign armies, occupation of the Forbidden City (1900), toppling of the imperial dynasty (1911), invasion of the Japanese (1930s), World War II and civil war between the Communist and Nationalist parties. Instead of explicitly criticizing present circumstances, many bapo<\/em> artists expressed their reactions through relevant references to the past. In his four-piece work Burned, Ruined, Damaged Fragments<\/em> (1938), Li Chengren invoked an ancient calamity that occurred in 213 BC. According to legend, the hegemonic first emperor of China, known as Qin Shi Huang, commanded the burning of all books that were inconsistent with his own approach to governing\u2014a historic conflagration that led to the tragic near-loss of all Confucian texts. Li created his painting shortly after the horrific Massacre of Nanjing during the Sino-Japanese war, in which up to 300,000 people perished. With his reference to the devastating Qin Shi Huang, the artist may have been subtly alluding to the ghastly current state of his\u00a0country.<\/p>\n

In addition to paintings, several examples of decorative arts featuring bapo<\/em> designs are on view in the exhibition, showcasing how the aesthetic had integrated into the popular culture of the 19th and 20th centuries. Among these is an inner-painted snuff bottle, made to contain tobacco leaves and decorated by artist Ding Erzhong using a tiny brush squeezed through the vessel\u2019s orifice. Other highlights include a colorfully glazed porcelain plate (19th century, Peabody Essex Museum) featuring an ink dragon painting and Meeting Immortal Friends<\/em>, a rare example of bapo<\/em> silk embroidery that remarkably and realistically translates the visual characteristics of an ancient rubbing into a\u00a0textile.<\/p>\n

By the 1980s, awareness of bapo<\/em> had all but faded. However, following the turmoil of the Cultural Revolution (1966\u20131976), several artists began to revive the art form. Geng Xuezhi (born 1973) creates dynamic compositions, infused with updated materials and a sharp graphic sensibility. His painting The Jade Rabbit Welcomes the Spring<\/em> (2016) features contemporary newspapers, children\u2019s cartoons and the cover of a 1950s children\u2019s book. One fragment is a child\u2019s drawing of a rabbit\u2014Geng\u2019s copy of a work by his own\u00a0daughter.<\/p>\n

Other contemporary works on view include Bapo Picture of a Pile of Brocade Ashes<\/em> (2006) by Wang Chao (born 1974), an artist known for his use of the traditional Chinese woodblock printing medium, and Tang Taizong and Wang Yuanqi<\/em> (2005), an oil painting by Chen Danqing (born 1953), from a series depicting European and Chinese art books that the artist had collected over the years. While the resonance of his work with bapo<\/em> painting is palpable, Chen\u2014one of China\u2019s most celebrated contemporary oil painters\u2014had never seen or heard of the genre until many years after he began this series of\u00a0paintings.<\/p>\n

\u201cIt is a rare opportunity\u2014and incredibly exciting\u2014to discover, investigate and put back into the public knowledge a historic and radically modern-looking art form that had never been recorded and that was all but forgotten,\u201d said Berliner. \u201cTo see young artists now inspired to revive it with their own modern interpretations is a\u00a0thrill.\u201d<\/p>\n

Art of Asia and China at the\u00a0MFA<\/p>\n

Among the finest in the world, the MFA\u2019s collection of Asian art covers the creative achievements of more than half of the world\u2019s population over the course of five millennia. The collection encompasses Japanese, Chinese and Indian painting and sculpture; Japanese prints and metalwork; Chinese, Japanese, Korean and Vietnamese ceramics; and the arts of the Islamic world; as well as contemporary works from across the region. The strength of the Chinese collection lies in masterworks of sculpture, painting and ceramics. Highlights include Buddhist stone sculpture and early handscrolls that are among the most famous Chinese paintings in the world. The ceramic collection is rich in imperial stonewares and porcelain, while an extensive collection of Chinese textiles is overseen by the David and Roberta Logie Department of Textile & Fashion\u00a0Arts.<\/p>\n

The Museum of Fine Arts, Boston (MFA), is recognized for the quality and scope of its collection, representing all cultures and time periods. The Museum has more than 140 galleries displaying its encyclopedic collection, which includes Art of the Americas; Art of Europe; Contemporary Art; Art of Asia; Art of Africa and Oceania; Art of the Ancient World; Prints and Drawings; Photography; Textile and Fashion Arts; and Musical Instruments. Open seven days a week, the MFA\u2019s hours are Saturday through Tuesday, 10 am\u20135 pm; and Wednesday through Friday, 10 am\u201310 pm. Admission (which includes one repeat visit within 10 days) is $25 for adults and $23 for seniors and students age 18 and older, and includes entry to all galleries and special exhibitions. Admission is free for University Members and youths age 17 and younger. Wednesday nights after 4 pm admission is by voluntary contribution (suggested donation $25), while five Open Houses offer the opportunity to visit the Museum for free. The Museum\u2019s mobile MFA Guide is available at ticket desks and the Sharf Visitor Center for $5, members; $6, non-members; and $4, youths. The Museum is closed on New Year\u2019s Day, Patriots\u2019 Day, Independence Day, Thanksgiving, and Christmas. The MFA is located on the Avenue of the Arts at 465 Huntington Avenue, Boston, MA 02115. For more information, call 617.267.9300, visit mfa.org or follow the MFA on Facebook, Twitter and\u00a0Instagram.<\/em><\/p>\n

Bibliographie sommaire<\/strong><\/span><\/p>\n