当前展览-基本陈列

长沙马王堆汉墓陈列

湖南省博物馆3楼展厅
永久陈列

本展览免费对公众开放

马王堆汉墓是西汉初期长沙国丞相利苍及其家属的墓葬,位于中国中部湖南省的长沙市。1972-1974年,考古工作者在这里先后发掘了3座西汉时期墓葬。墓葬的结构宏伟复杂,椁室构筑在墓坑底部,由三椁、三棺及垫木所组成。木棺四周及其上部填有木炭,木炭外又用白膏泥填塞封固。墓葬内的随葬品十分丰富,共出土丝织品、帛书、帛画、漆器、陶器、竹简、印章、封泥、竹木器、农畜产品、中草药等遗物3000余件。

湖南人

湖南省博物馆2楼展厅
永久陈列

本展览免费对公众开放

湖南省博物馆定位为全面反映湖南历史文化的区域性综合类博物馆,向社会推出一个能够反映湖南区域文明发展进程的通史性基本陈列是我们的使命。 湖南的历史文化,是“湖南人”自身创造湖南区域历史、积累湖南区域文明的过程。因此,策划反映湖南地区历史文化的基本陈列,只有围绕“湖南人”为展示核心,历史和文明才有灵魂与内涵,才能成为本地区乡情宣传、教育的平台,才能成为外地游客系统了解湖南地区历史文化的窗口,才能起到传承历史、启迪当下的作用。 本陈列从“湖南人”第一人称的自身来展示湖南的历史与文化,分别向观众解读湖南人生活的自然环境与发展轮廓是什么样的?即第一部分“家园”;接着展示这里生活着一群什么样的人,现在的湖南人是如何形成的?即第二部分“我从哪里来”;然后诠释湖南人是如何获取生活资源的?即第三部分“洞庭鱼米乡”;他们在不同历史时期的生活状况以及相关生活习俗,即第四部分“生活的足迹”;最后提炼总结出湖南人的精神气质是什么?即第五部分“湘魂”。五部分层层递进,彼此融为一体,十分自然地做到展览要“见人见物见精神”的目的。

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。

当前展览-临时展览