陈列展览边栏导航

Current Exhibitions

Changsha Mawangdui Han Dynasty Tombs Exhibition

3rd Floor
Permanent Exhibition

Free admission

The excavation of the three Western Han Dynasty Tombs at Mawangdui, Changsha, which took place between 1972 and 1974, was one of the world’s most important archaeological discoveries of the 20th century. The fully preserved tomb structure as well as a wealth of funerary items serve to fully embody everyday life and funeral concepts during the Han Dynasty. Over 700 exquisite lacquer items with intricate workmanship reflect the brilliant accomplishments of Han Dynasty lacquerware, and over 500 exquisite textile garments fully attest to the “Kingdom of Silk” (Seres) in the Western historical records. More than 50 bamboo slips and silk manuscripts serve as “encyclopedias”, demonstrating the knowledge and wisdom of the ancient sages. Strange and bizarre coffin paintings embody the fantasies of people in the Han Dynasty ascending to the heavens and longing for external life, while the dreamlike face of a deceased woman is a testament to extraordinary preservation techniques. The Mawangdui Han Dynasty Tombs are renowned as the exemplar of the history and civilization in the early Han Dynasty, providing a window to understand society in China over 2,100 years ago.

Hunanese

2nd Floor
Permanent Exhibition

Free admission

Hunan, located in the central Chinese hinterland, is bounded in the north by the waters of Lake Dongting, embraced on three sides by majestic mountains, and crisscrossed by the four rivers, Xiang, Zi, Yuan, and Li. The province, known as the “Land of the Hibiscus” since Tang Dynasty, is blessed with rich resources and a temperate climate. The region was settled almost 500,000 years ago by people who have welcomed migrants over various periods with open hearts. The descendants of these original settlers and generations of migrants make up the “Hunanese” we know today. From the earliest domestication of wild rice to the breeding of rice cultivars and finally to the growing of the hybrid rice of today, Hunan has always been grounded in rice farming. Over the generations, the diligent and wise people of Hunan, with their practical minds, have engaged in mutual help and built a comfortable pastoral home for themselves. In the process, they created a land abundant with food, which is known as “the Granary of China”. From eating rice with fish to enjoying spicy and hot flavors, the people of Hunan practice a way of life that has been passed down through the generations and seek a way of life that is above and beyond the mere utilitarian. Shang and Zhou (1600--256 B.C.) ritual music instruments made out of bronze, lacquered-wood vessels from the Han Dynasty (202 B.C.--220 A.D.), the popular Changsha ceramics in the Tang Dynasty (618--907 A.D.), and the well-educated farmstead family of Ming and Qing periods (1368--1912A.D.): these are all reflections of Hunanese customs and beliefs, and the Hunan way of life. For thousands of years, due to deep immersion in the culture of the Central Plains, patriotic thoughts, strong scholastic heritage, and modern ideological agitations cultivated the generations of great men who have emerged from Hunan. The people of Hunan are bold, fiercely patriotic, and deeply loyal.

当前展览-专题陈列

Exhibition of Guqin Culture in Hunan

3rd Floor
Guqin originally known as qin, also called a seven-stringed plucked qin and yaoqin, is one of the most ancient instruments of Chinese nation. In ancient times, it was highly praised by literati as the first of the four arts of qin, chess, calligraphy and painting. In November 2003, UNESCO declared it the "representative of oral and intangible heritage of humanity". Hunan is blessed with a long history of guqin. Shun, a chief of ancient Chinese tribal alliance, played the guqin, intoning “Nanfeng” to rein the country. Guo Mian, a musician in the Southern Song Dynasty, once moved to Hengshan Mountain and composed a song named “Mist and Clouds over Xiao-Xiang River”, which was admired by people for thousands of years. Sages as Zhu Xi, Zhang Shi, Wang Fuzhi and Zuo Zongtang spread feudal code of ethics and purified their souls by qin, adding profound cultural connotation to guqin culture in Hunna. Modern musicians, such as Peng Zhiqing, Yang Zongji, Gu Meigeng, Zha Fuxi and Li Jing were all engaged in guqin study in Hunan, which had a great impact in this field. Hunan Museum has a collection of fifty-three pieces of guqin, which were unearthed or manufactured during the time from Western Han Dynasty to Republic of China, spanning more than two thousand years. These rich heritages are undoubtedly an important part of Chinese guqin culture. “Those who play the guqin by the Xiangjiang River have good moral standards as ancient sages.” In the moonlight of Lushan Mountain and the ripple of Xiangjiang river, guqin melody is in harmony with the heaven and the earth, echoing with the universe. It is hoped that the exhibition can provide an opportunity for people from all walks of life to understand the culture of Xiaoxiang guqin and appreciate its unique charm.

Exhibition of Qi Baishi’s Art

3rd Floor
Qi Baishi (1864-1957), was formerly known as chunzhi, whose courtesy name was Weiqing, and pseudonym Lanting. Later he renamed himself Huang, with pseudonyms of Binsheng and Baishi, aliases of The Old Man in Xingziwu. The owner of Jieshanyin Study and The rich man of lithographic printings, etc. He was born in a poor peasant family in Baishipu Xingziwu, Xiangtan County, Hunan Province. When he was young, he worked as a carpenter. At the age of 20, he began to learn from the Jieziyuan Painting Collection and study painting by himself. After the age of 50, he resolutely carried out the “Artistic reform at his old age” and initiated a new style of freehand flower and bird painting of “safflower ink leaves” , which demonstrates the zeitgeist of Chinese art with a new look. Since then, he became the most famous, creative and influential Chinese painting master in the 20th century. Moreover, his influence has spread all over the world and won international prestige such as “International Peace Prize” and “World Top Ten Cultural Celebrities” successively. Qi Baishi experienced the three periods in his life: the late Qing Dynasty, the Republic of China and New China. His legendary experience from a carpenter to the master of painting has always been admired by people. With unique talents, diligence, and the longevity, Qi made great success in painting. However, Qi also has a unique quality that he is very confident in his own art. This kind of enterprise and perseverance in born makes him always keep an unpretentious and pure heart, dare to adhere to his artistic personality, and maintain the artist’s freedom, independence and creativity all his life, which turns him into a great artist. Therefore, when Chen Shizeng persuaded him with “Draw my own painting, why should I be like others”, which was just in line with the wishes of Qi, he agreed and accepted it. Thus, the artistic path of “Draw my own painting” across his whole life was established. Qi was good at poems, writings, paintings and seals, and especially the achievements of painting is the most representative. It not only promoted the development of literati painting, but also disseminated the profound and unpopular Chinese painting art to the public. In the exhibition, nearly 100 pieces of paintings were selected from the collection of Qi Baishi's works, including flowers, birds, landscapes and figures, covering his early, middle and late paintings. It is hoped that the audience can understand the evolution of Qi Baishi’s painting style and immerse into his maverick and charming art world.

Porcelain Paintings from the Changsha Kiln to the Liling Kiln

3rd Floor
The brown colored porcelains with paintings found in the Nanjing area of the Three Kingdoms period were the earliest porcelains decorated with paintings we have found till now. The painting themes on these porcelains mostly included immortals with wings and auspicious beasts which might be related to local beliefs and funeral customs. However, these special porcelain paintings were lost in the Western Jin Dynasty, and there was no porcelain with painting decorations for the next few hundred years. Porcelain painting reached its first peak until the Changsha Kiln of the Tang Dynasty. The paintings on the porcelains from the Changsha Kiln were mainly themed on flowers and birds, together with other elements including landscapes, figures, buildings, and clouds. It is the first time in the Chinese porcelain history that brown, green and red colors were used to paint on the porcelain, marking that porcelain painting had entered into a colorful era. The royal aristocrats of the Song Dynasty still favored the porcelains without decorations, while  paintings decorations were popular elements used by the folk kilns, of which the Cizhou kiln in the northern China and the Jizhou kiln in the southern China stood out. The painting skills from the most part of China were spread to and converged in Jingdezhen (a city in Jiangxi Province, a leading porcelain-manufacturing centre) until the Yuan Dynasty, resulting in the birth of amazing blue-and-white porcelains of Yuan Dynasty. The Ming and Qing Dynasties were the heyday of the development of painted porcelains. In addition to inheriting the previous painting skills, new varieties such as contrasting color, multicolor, pastel, enamel, light-reddish-purple art, under-glazed multicolor emerged one after another, and the paintings themed on flowers, birds, figures, and landscape were becoming more and more exquisite. The paintings on porcelains from royal kilns were precise and rigorous, while those were free and easy in folk kilns. Porcelains become vivid with the decoration of paintings, and paintings are given immortal life because of porcelains.

激逸响于湘江兮——潇湘古琴文化展

湖南省博物馆三楼专题展厅
“古琴”原名“琴”,又称“七弦琴”、“瑶琴”等, 是中华民族历史最为久远的乐器之一。在古代备受文人推崇,为“琴、棋、书、画”四艺之首。二〇〇三年十一月被联合国教科文组织宣布为“人类口述和非物质遗产代表作”。 湘楚大地作为古琴的故乡,其琴风琴事可谓是源远流长。舜作古琴,歌《南风》而天下治。南宋琴家郭沔曾移居衡山谱写《潇湘水云》,千百年来以为美谈。朱熹、张栻、王夫之、左宗棠等贤哲传扬礼教、以琴治心,为潇湘古琴增添了深厚的文化内涵。彭祉卿、杨宗稷、顾梅羹、查阜西、李静等近现代琴家都曾在湖南从事琴学活动,在古琴界产生了巨大影响。 湖南省博物馆收藏有五十三张古琴,其出土或斫制年代自西汉至民国,前后延续两千余年,这些丰富的遗产无疑是中国古琴文化中的重要组成部分。  “激逸响于湘江兮,堪比德于遗老”,在麓山的明月中,在湘水的余波里,琴声与天地合一,与万物同奏。希望本次展览能为各界人士开启一扇了解潇湘古琴文化的窗口,感受潇湘琴韵的独特魅力。