Founded in 1941, Sichuan Museum is located in the Huanhuaxi Historical and Cultural Scenic Area in Chengdu, Sichuan Province. It is the largest comprehensive museum in the Southwest, and plays an important role in the National Public Museum. In 2009, with the completion of the new museum, the Sichuan Museum was renamed the current name.
The Sichuan Museum has more than 260,000 pieces of cultural relics in its collection, including more than 50,000 precious cultural relics. The Sichuan Museum has more than 30 full-time and part-time researchers. It has researched and published academic works such as the “Sichuan Museum’s “Gesar” Thangka Study”, “Sichuan Unearthed Buddhist Studies in the Southern Dynasties”, “Collection of Paintings and Calligraphy Collections”. In 2011, the “Sichuan Museum’s Rehabilitation Capacity Improvement” project was established by the State Administration of Cultural Heritage as one of the two pilot projects in the country. In October 2012, it was rated as a national first-class museum. In 2017, the Sichuan Museum won the most innovative museum in the country.
History
From the first college museum created by American scholar Dai Qianhe in 1914, the Huaxi Antiquities Museum, to the establishment of the History Museum of Huaxi Xiehe University in 1933 (Chongchuan Museum). Then in 1940, the establishment of the Sichuan Museum was born, and the site was in Dongyue Temple in Jixian County. In 1945, he moved to Mingyuan Building. In 1950, he moved to the “Buddha School” and “National Library” in the People’s Park and moved to Chengdu “Soviet Peaceful Atomic Energy Exhibition Hall” in 1965. The Wenbo career in Sichuan has gone through a long period of time, from small to large, and now the Sichuan Museum has experienced 70 years of history. From the tens of thousands of collections at the beginning of the museum to the 260,000 sets of collections today.
In 1940, the Sichuan Museum was formally established.
In 1941, the Sichuan Museum was built and the site was in Dongyue Temple in Jixian County.
In 1945, he moved to the Mingyuan Building of the Imperial City.
In 1949, it was renamed as “Western Sichuan People’s Museum”.
In 1950, he moved to the “Folk School” and “National Library” in the People’s Park.
In 1965, he moved to the “Soviet Peaceful Atomic Energy Exhibition Hall” in the fourth section of Renmin South Road, Chengdu.
In 2001, the Sichuan Provincial Museum was included in the “10th Five-Year Plan” by the State Planning Commission and decided to build a new building in the scenic area of Huanhua.
In July 2002, the old museum of Sichuan Province was closed.
On December 30, 2004, the construction of the new museum of the Sichuan Provincial Museum broke ground.
At the end of October 2007, a large-scale relocation of cultural relics began.
In March 2009, it was officially renamed as Sichuan Museum.
In early May 2009, the Sichuan Museum was officially opened to the public.
In February 2010, the first grass-roots mobile museum in China was established.
In 2011, the “Sichuan Museum’s Rehabilitation Capacity Enhancement” project was established by the State Administration of Cultural Heritage as one of the two pilot projects in the country.
In October 2012, it was rated as a national first-class museum.
In March 2013, the “Sichuan Museum’s Rehabilitation Capacity Improvement” project was completed and passed the acceptance of the expert group organized by the State Administration of Cultural Heritage.
On May 18th, 2017, it won the most innovative museum in the country.
Architecture
In 2009, the new museum of Sichuan Museum was completed in Chengdu Huanhuaxi Historical and Cultural Scenic Area. The new hall covers an area of more than 88 acres, with an investment of more than 300 million yuan, a total area of 12,000 square meters, the main building is 32026 square meters, the scale is four times the original museum, the number of exhibition halls is 14 and the exhibition hall area is about 12635 square meters, including There are 10 permanent exhibitions such as calligraphy and painting, ceramics, bronzes, ethnic relics, arts and crafts, Tibetan Buddhism, Wanfo Temple stone carvings, Zhang Daqian calligraphy and painting, Han Dynasty ceramic stone art, and 4 temporary exhibition halls for various temporary exhibitions. The new pavilion also has an academic lecture hall that can accommodate more than 200 people for various large-scale conferences and academic lectures.
The main building adopts the traditional Chinese architectural elements of “door, church, gallery” to form a spatial sequence. The main building organizes various functions around the “T” shaped atrium. The underground floor is the garage and equipment room, and the bottom floor is the cultural relics warehouse and repair room. The second floor is the exhibition area, which is directly accessed from the outdoor large platform. The exhibition is divided into three floors. The first floor is the Sichuan Han Dynasty ceramic stone art exhibition and the multi-function hall conference reception room; the second floor is the Bayu bronze exhibition hall, ceramic boutique exhibition hall, calligraphy and painting hall, Zhang Daqian works exhibition; the third floor is Tibetan Buddhist Relics Museum, Wanfo Temple Stone Carving Hall, Sichuan National Cultural Relics Exhibition, Arts and Crafts Museum, Centennial Sichuan Pavilion.
The west side of the main building is an office area with a training center, scientific research office and information center. The southeast side is connected to the main building with an empty commercial corridor, with shops and tea shops.
Exhibition
Zhang Daqian Painting and Calligraphy Museum
The Sichuan Museum has a large collection of paintings by Mr. Zhang Daqian, especially the Dunhuang murals in Linyi. Zhang Daqian has more than 200 paintings of Dunhuang murals, and the Sichuan Museum has collected 183 pieces. Mr. Zhang Daqian had limited time in Dunhuang, and most of them were unfinished. After he brought Linyi’s paintings back to Sichuan, he folded them and stored them in Zhaojue Temple and Shahe Village. In 1963, Mr. Zhang Daqian’s family officially donated the cultural relics to the Sichuan Museum.
Bayu Bronze Museum
Sichuan Museum has collected since the 1950s, Xinfanshui Guanyin, Baxian Dongsunba, Zhaohua Baolunyuan, Pengzhou Zhuwa Street, Chengdu Yangzishan, Chengdu Baihuatan, Chongqing Fuling Xiaotianxi, Xindu Majiaxiang A large number of exquisite bronzes unearthed from a series of major archaeological discoveries such as Guanghan Sanxingdui, Chengdu Jinsha and Maoxian and Xuanhan counties.
The most characteristic and most common development of the Bayu bronzes is the variety of bronze sharps, including weapons and tools. In addition, there are many special inscriptions on the Bronze bronzes, and the symbols of the shape of the palm, the flower, the tiger, the bird, etc. are cast. There are also some bronzes in the Bayu area that are similar in style to the neighboring vassal countries. For example, the ceremonial shape and ornamentation of the Xindu Jiuliandun Tomb are similar to those of the Chu.
Wanfo Temple Stone Carving Hall
Wanfo Temple is located in Tongjin Bridge outside Ximen, Chengdu. It was built in the Eastern Han Dynasty (158-167 AD). It is a famous ancient temple in Chengdu. From the Southern Dynasty to the Ming Dynasty, the incense was continuous. According to the literature and the unearthed inscriptions, the Wanfo Temple was named after the Anpu Temple in the Southern Dynasties. The Tang Dynasty was named Jingzhong Temple. In the Song Dynasty, it was renamed Jingyin Temple. In the Ming Dynasty, it was also known as the Wanfo Temple.
Since the excavation of the Wanfo Temple site in the eight years of Emperor Guangxu (AD 1882), a large number of stone carvings have been unearthed four times, about two hundred. Among them, most of the two unearthed statues are collected by the Sichuan Museum. The contents include Buddha statues, Bodhisattva statues, statue monuments, statues, statues and various building elements. The Nan Dynasty Liang (AD 420-589), which was unearthed, has a clear history and is an important material for studying early Buddhist art. The stone carving statue of Wanfo Temple occupies an important position in stone carvings in Sichuan and even the whole country. It has rich themes, complex and complete layout, exquisite and exquisite carvings. Many of the finest products have participated in many exhibitions at home and abroad and have been included in various catalogues. .
Han Dynasty Ceramic Art Museum
The development of the Sichuan Basin was earlier. After the Qin Dynasty unified the Bayu, the advanced culture and production technology of the Central Plains were rapidly spread. The production level of agriculture and handicrafts in the Han Dynasty in Sichuan was greatly improved. Weng Xingxue also made the culture of the land rapidly developed. The stable and rich Sichuan nature has become an important area for the popular art of pottery. From the middle and late Western Han Dynasty, it flourished in the Eastern Han Dynasty and at the latest in the early Han Dynasty. Not only is it huge in number and variety, but its portrait style is very local. It vividly and vividly shows all aspects of social life at that time, reaching a very high level both in shaping skills and in carving techniques. It not only has a special important position in the study of social life, spiritual beliefs and moral concepts in the Han Dynasty, but also wrote a splendid chapter in the history of Chinese art.
Ceramic pavilion
The development of ceramics in Bayu has enriched the development of Chinese ceramics, from the quaint Daxi painted pottery, the vivid Han Dynasty pottery, the multi-colored Song Sancai, to the unique Qingyanggong kiln, kiln, Yutang kiln, Guangyuan kiln, magnetic Fengyao, Liulichang Kiln…, all show the natural and simple charm of Bashu ceramics. Although there is no exquisite luxury of official kiln porcelain, it reflects a strong sense of life. In particular, the colorful spots, spotting and painting of the kiln have expanded the new world of ceramic decorative art. The long-awaited fuel-saving lamp is a very meaningful invention.
Painting and calligraphy hall
Sichuan’s calligraphy and painting art has a profound tradition. Since the Tang Dynasty, some Kyoto and foreign painters have come with Tang Xuanzong and Tang Yuzong to avoid the chaos, which has brought prosperity to Sichuan’s painting and calligraphy art. In the “General Catalogue of Siku Quanshu”, it is mentioned that “there are more shackles than paintings and more than four parties.” “Yizhou Book and Call of Famous Persons” records from the Tang Dynasty (AD 758) to Song Gande (AD 967), and the Qing Dynasty to the Republic of China (AD 1736 to 1946), the two periods of the Sichuan and the foreign paintings in Sichuan There are more than 1,100 celebrities, leaving Sichuan with countless calligraphy and paintings. During the Anti-Japanese War, Sichuan, as the rear, brought together cultural celebrities and artists from all directions, once again set off the tide of modern art.
Sichuan National Museum of Culture
The Sichuan Museum has more than 7,000 ethnic cultural relics, and the ethnic cultural relics on display are selected, including the Yi, Tibetan, Yi, Miao, Hui, Mongolian, Tujia and other 14 ethnic minority handicrafts. Religious utensils, costumes, daily necessities, daily necessities, tools, musical instruments, weapons, etc., string together the culture, customs, etiquette of various nationalities, condense a profound national cultural complex, with a unique and long-lasting artistic charm, showing a variety of colors Folk customs.
Tibetan Buddhist Museum
Sichuan is China’s second largest Tibetan area. Due to its special geographical location, the Sichuan Museum has a rich collection of Tibetan Buddhist artifacts. These cultural relics fully reflect the spread and development of Buddhist culture in Tibetan areas for more than a thousand years. The influence of Tibetan Buddhism on the Tibetan people is extensive and profound. It has infiltrated into its history, politics, economy, culture, education and customs, and has become a religion widely believed by Tibetans. It has also been introduced to Mongolia through long-term cultural exchanges. Among the ethnic groups, the Tu, the Yuba, the Lhoba, the Menba, the Naxi and the Pumi, they were circulated in Tibet, Sichuan, Yunnan, Gansu, Qinghai, Xinjiang and Inner Mongolia, and were introduced to Sikkim, Bhutan, Nepal. Mongolian People’s Republic and Russia and Buryatia and other countries and regions.
Republican Light
The Sichuan Baolu Movement has been included in the history of China in the history of the Revolution of 1911. In Chinese history, especially in the history of Sichuan, it has built a monument to the future. On the occasion of the commemoration of the 100th anniversary of Sichuan Baolu Sports, the Sichuan Museum held the exhibition “The Light of Hope and the Commemoration of the 100th Anniversary of the Xinhai Sichuan Road Protection Movement”. The exhibition was held to commemorate the revolutionary spirit and achievements of the pioneers of the 1911 Revolution in revitalizing China, patriotism and the people, pursuing democracy and republicanism, demonstrating the struggle of the revolutionary party to create the Republic of China, and re-emphasizing the road-building movement. The moving scene of “color”.
Arts and Crafts Museum
The museum displays the finest collections of arts and crafts in the Sichuan Museum, including jade, gold and silver, bamboo and wood horns, lacquer ware, shadow, snuff bottles, embroidery and other categories. The time span was as early as the Shang Dynasty, and it was late in the early years of the Republic of China and the Republic of China. They are not only exquisite crafts, but also practical things in life. Its unique shape, beautiful colors and rich carvings have become an artistic treasure and an important part of the traditional culture of the Chinese nation.
Collection
In the Warring States Period, the bronze gong was discovered. In 980, the Sichuan Provincial Museum excavated the unearthed, national-level cultural relics in Xinjia Majia Township. Bronze, rectangular inside, decorated with frog pattern, the middle of the handle is decorated with diamond-shaped pattern, the spoon is peach-shaped, concave, decorated with crepe, surrounded by cloud-ray.
Zhong Tang. Loqitian, Sakamoto, Zhang Daqian Lin Yu at the top of the cave at the 15th cave of Yulin. The face of the Bodhisattva is like a prosperous, peaceful, long towel, a piano in one hand, a string in one hand, and a natural movement.
The two birds of Lamei are 25.8 cm in length and 26.1 cm in width. Sakamoto, color. In the picture, a branch of plum blossom is interspersed between the cypress branches of the evergreen and evergreen, and the two tits are eagerly screaming at the branches. This painting depicts the overlapping growth of the cypress and the plum in a delicate brushwork. The pair of tits on the plum branch sings and sings, and the white plums are interspersed with the spring. The eyes of the tits are painted with lacquer and they look good. This is the finishing touch of Zhao Wei. In the lower right corner of the screen, the title “Tianxia people”, on the top of the “Yu Shu” gourd-shaped print. In the lower left corner, the Qing Dynasty appraiser “Yuteng Private Seal”.
In the Tang Dynasty, the first chicken body was carved in porcelain. It was unearthed in 1978 in Wanma Township, Wanzhou, Chongqing. It is 9.2 cm high, 7.8 cm in length, 6.3 cm in gray at the bottom, and yellow-glazed. The upper body is a human figure, the lower body is a chicken shape, and it is lying on a rectangular seat. The head is combed, the fat face is flat, the eyes are micro-combined, the head is high, the chicken tail is high-pitched, the wings are unfolded, and the feet and legs are juxtaposed, for the shape of flying, the shape is unique, and the imagination is very imaginative.
Qingwa Temple Xuanweisi bronze seal, national first-class cultural relics, 8.9 cm long, 8.9 cm wide, 12.8 cm high. The copper-plated square, the elliptical column button, the printed surface is carved in the Han and the Manchu scriptures. The content is “Wa Temple Xuanweisi Printing”, the right side of the printed side is inscribed in Chinese, “Jiaqing is in April,” and the left side is engraved with “Jiayu”. On the 468th, “printed back right engraved” Wa Temple Xuanweisi Printing Department created “, left to agree with Man Wen.
The Tangka, which was painted in the nineteenth century, was painted in the Kham region of the 19th century. Its composition is complicated and not complicated, and the colors are colorful and unconventional. The masters of the technique mix the New School and the Situ School. It is one of the rare geniuses in the mother-in-law class. The rituals are mainly based on the genius to save the eight Buddhist sects from the eight disasters. It is based on the Bunsen map, and the eight stories are painted on a Thangka.
Yuxibao, unearthed in the tomb of Emperor Wang Jian of the Five Dynasties in Chengdu, Sichuan Province in 1942, is a national first-class cultural relic. It is 11.7 cm long, 10.7 cm wide and 11.4 cm high. It is white jade, the middle is slightly thicker, so it is slightly raised. The button is carved in a dragon shape with a horn on the head, and the body is engraved with a lining, and the tail is rolled on the right side. On the top of Linjia, the original gold. In front of the inscription, the phoenix pattern, flying wings. The dragon and the left sides are engraved on the left and right sides, and a beast is engraved in the back. The knife is smooth and the font is well-proportioned.
Liang is a four-year-old statue of Sakyamuni, a blue sandstone, and a small sculpture. The front embossed one Buddha, four Bodhisattvas, four disciples, two kings. The next row of music, the upper part of the back embossed Buddha and the story of the story, the lower part of the rectangular monument, the inscription is vertical 11 lines 65 words. The two sides of the skull are engraved with the image of the king and the statue of Lux.
Long Mingjian returned to the country passport, national level cultural relics. It is 39.5 cm long and 28 cm wide. The first month of the Guangxu reign of thirty-four years (1908). Sixteen open paper lithographs, blue borders, black text, black ink in the brush, arranged vertically from right to left, the word “passport” is horizontally arranged from right to left.
In the Western Zhou Dynasty, the Warring States paid 2.5 centimeters in diameter, rounded in a circle, and the rounded edges were irregular. The frontal script was “Western Zhou”, with internal and external profiles and a flat back.
Eastern Han Acrobatic Dance Portrait Brick, near square, molded, bas-relief. A shirtless man at the top right of the picture, the left elbow “jumping bottle”, the right hand holding the sword “jumping pills”. The left-handed man on the left performed “jumping pills”, and he danced seven pills in his hands. On the lower right, a woman’s hand held a long towel and danced. The left one, the right hand is sticking to the drums, and the second two musicians are holding the slaps. At the top right, the men and women are sitting in the crown and watching the wonderful performance.
The bronze seal of the Sichuan Provincial People’s Government was handed over by the Chinese Revolution Museum. Square, round handle. The side of the printed surface is 7 cm long, the thickness of the printed body is 2.3 cm, and the length of the handle is 11.5 cm. The copper tire is cast into a word, and the imitation of the Song Dynasty character “Sichuan Provincial People’s Government Printing”. The back is engraved with three concave and horizontal lines. Right vertical line: “Sichuan Provincial People’s Government”. Left vertical line: “December 1947”. Just below the horizontal row: “Dijon land number.”
Conservation
The Sichuan Museum has a rich collection of cultural relics, especially since the founding of New China and the 30 years of reform and opening up. Through archaeological excavations, donations and extensive solicitation, the Sichuan Museum has owned more than 260,000 pieces of materials, including 1399 pieces of first-class cultural relics. There are 6,371 second-level cultural relics and 95,345 third-class cultural relics. The number and grade of collections in the national provincial pavilions are among the best.
The collection of cultural relics is divided into ceramics, masonry, metal, coins, paintings and calligraphy, ethnic folklore, inscriptions, and more than 30 subcategories of eight modern categories. It has a strong local characteristics of Bayu. Visitors can enter the cultural relics number through the “Audio Navigation System” in front of important cultural relics to obtain automatic speech interpretation of cultural relics. Disabled friends can also enjoy wheelchair accessible, accessible ramps for visitors to the pavilion.
In addition to the rich cultural relics, numerous fine works, and modern exhibition methods, the cultural relics protection measures of the Sichuan Museum are also remarkable. In addition to the constant temperature and constant humidity settings common in modern museums, the provincial new museum has also introduced sound and light systems. All the calligraphy, painting, and textile exhibition halls in the new hall use sound-activated light groups. When there are no people in the hall, all the light groups will naturally dim. At the same time, all showcases use ultra-clear glass with high transparency and bulletproof function. Visitors can observe the finest parts of fine cultural relics and feel the unique charm of national treasure.
Research
The Sichuan Museum has more than 30 full-time and part-time researchers. Together with the Sichuan University Museum, the “Scientific Research and R&D Innovation Center” was established. Give full play to their respective advantages in cultural relics and intellectual resources, and comprehensively promote scientific research planning and R&D innovation. Training talents on scientific research topics, more than a thousand papers published in national and local academic journals, research and publication of “Sichuan Museum Tibetan Gesar” Thangka Research, “Sichuan Unearthed Buddhist Studies in the Southern Dynasties”, “Collection of Paintings and Calligraphy “《张大千留蜀精品》” “Sichuan Ship Funeral Excavation Report” “Exhibition of Wang Jian Tomb Excavation”, “Zhang Daqian Linyi Dunhuang Mural and Dafengtang”, “Longquan Celadon”, “Sichuan Museum”, “Red Army Long March” Horizontal academic work. In order to promote the academic and scientific development of the Sichuan Museum, and establish a communication platform with domestic cultural and cultural peers, the “Museum Journal” was founded, which has won wide acclaim in the industry.
In 2011, the “Sichuan Museum’s Rehabilitation Capacity Enhancement” project was established by the State Administration of Cultural Heritage as one of the two pilot projects in the country. In March 2013, the project was successfully completed and passed the acceptance of the expert group organized by the State Administration of Cultural Heritage. The completion of the project not only meets the needs of the research and restoration of cultural relics in the museums of Sichuan Museum, but also provides strong support and help for the protection and restoration of the cultural relics of various cultural and cultural units in and outside the province through the construction of cultural relics protection and restoration platform.