富春山水總關情

5月11日下午，浙江省博物館武林分館吸引了來自兩岸三地的眾多媒體記者。他們共同見證了激動人心的歷史時刻：分藏在海峽兩岸的《富春山居圖》邁開了“圓合”的第一步。

《富春山居圖》是“元四家”之首黃公望的代表作。以浙江富春江為背景，全圖用墨淡雅，山和水的布置疏密得當，墨色濃淡干濕并用，極富于變化，被稱為中國十大傳世名畫之一。清順治七年（1650），此畫為藏家吳洪裕所有。吳洪裕臨終時要求家人將畫焚燒殉葬。點火時，幸有其家人將此畫搶出，可惜已焚斷為一大一小兩段。幾經輾轉，長0.51米、題跋6米多的前半卷《剩山圖》存于浙江省博物館，長6.4米的后半卷《無用師卷》藏于臺北故宮博物院。兩岸藝術熱心人士幾經努力，希望有朝一日能“破鏡重圓”，今年6月1日這一心愿終于在臺北故宮博物院夢想成真。

團圓愿望#8195;跨越世紀

長期分隔兩地的《富春山居圖》曾在刊物和電視上“合璧”過。據浙江省文物局原局長毛昭晰先生回憶，1986年，當時日本的美術史專家匹田桂一郎帶著臺北故宮博物院所藏“無用師卷”的照片專程來到杭州，希望能夠拍攝浙江博物館所藏的《剩山圖》，在刊物上展現全貌。最終，這張“合璧”的照片出現在日本朝日新聞社出版的刊物《世界名畫之旅》中。

而事實上，從上世紀90年代起，浙江就開始推動兩岸《富春山居圖》合璧。2005年，名畫合璧出現轉機。當時，鳳凰衛視電視臺臺長劉長樂曾幾次到臺灣努力促成此事，臺灣回復稱：《剩山圖》先去臺灣展覽。

2008年后，海峽兩岸交流日漸頻繁，展覽條件相對比較成熟。劉長樂再把問題提出來，浙江博物館也一直非常希望能促成此事。在2008年底2009年初，浙江博物館和臺北故宮博物院開始進行直接交流，并通過發送電子郵件、信函往來、人員互訪等方式，促成此事。真正的轉機出現了。2010年初，溫總理在‘兩會’記者招待會上講了《富春山居圖》分藏兩岸的故事，并表達了希望兩幅畫能早日合成一幅畫的愿望。總理的關注加快了這一工作的進程。2010年6月，浙江省省長呂祖善訪問臺灣時表示，浙江愿意為《富春山居圖》合展走出第一步，將浙江省博物館館藏的《剩山圖》先拿到臺灣合璧展出。同時也希望，在未來合適的時候，請臺北故宮博物院將所藏的《無用師卷》拿到大陸來合璧展出。今年1月16日，“山水合璧黃公望《富春山居圖》特展”在原創地浙江富春江畔舉行了備忘錄簽署儀式。這意味著，360多年前被焚成兩段、60多年前分隔兩岸的《富春山居圖》，最終的合璧事宜正式敲定。

合璧之旅#8195;用心良苦

5月11日下午，浙江省博物館“鎮館之寶”《剩山圖》赴臺前的點交啟運儀式在杭州舉行。《剩山圖》由中國文物交流中心先送往北京，再由臺灣廣達文教基金會移交臺北故宮博物院。下午2時55分，在慎重的裝箱儀式后，《剩山圖》被裝入特制的“恒溫恒濕”文物箱，經清點移交至中國文物交流中心，全程專人護送至北京。當天，由于杭州下著小雨，濕度比較高，因此《剩山圖》并沒有在儀式現場展開。

為了讓《剩山圖》安全抵臺，浙江省博物館根據《剩山圖》尺寸大小量身定制了運輸箱，為了保證運輸安全，箱子加裝保險鎖。《剩山圖》裝入后，加裝安全鎖、貼上封條，由專人保管專人押運。

“《富春山居圖》問世已660年，幾經輾轉，紙張已經非常脆弱。溫度、濕度的變化和燈光直射，乃至每一次展卷，都可能造成無法彌補的損害。”浙江博物館館長陳浩告訴記者，浙江省博物館對《剩山圖》的展出環境提出了嚴格要求：展柜的溫度需控制在20℃至24℃之間，濕度在58%至63%之間，照度50 LUX。陳浩說，《剩山圖》和《無用師卷》是各自裝裱的獨立畫軸，為了實現最大限度的合璧，雙方經過多次商討，最終確定將兩幅畫一同放入臺北故宮博物院量身定制的10多米長的大通柜中。大通柜24小時恒溫恒濕，其中置有高度適宜的斜面展臺擺放作品，方便觀眾參觀。

根據雙方簽訂的備忘錄，浙江省博物館和臺北故宮博物院于2011年6月1日至9月25日，在臺北故宮博物院聯合主辦“山水合璧黃公望與《富春山居圖》特展”。除了《剩山圖》，浙江省博物館還提供了清王原祁《仿富春山居圖軸》和奚岡《仿黃公望富春筆意圖軸》兩件展品。其中，在展覽前半期的兩個月里，《剩山圖》將與臺北故宮博物院所藏《無用師卷》在展廳里獨立重點展示，同展同收。

Reunion of Two Parts ofa Masterpiece

By Xiao Zhu

The afternoon of May 11， 2011 witnessed journalists from media on the mainland and across the straits gather together at Zhejiang Museum on the West Lake in Hangzhou. They were there to witness the moment Remaining Mountains starting its long-expected travel to Taiwan for the reunion and joint display with the bigger part of the same masterpiece entitled the Mountain Dwelling on the Fuchun River.

The masterpiece was created by Huang Gongwang (1269-1354)， an artist of the Yuan Dynasty (1206-1370). It is considered one of the top ten all-time paintings of China. In 1650， the owner of the painting Wu Hongyu on his deathbed asked his family to burn the painting so that the artwork and he could go to the next world together. It was salvaged out of the fire by a relative， but part of the long scroll was hopelessly destroyed in the fire， and the rest fall apart in two parts. The longer part， about 6.4 meters in length， is now in the National Palace Museum in Taipei. The small part， 0.51 meters long， has been in the collection of the Zhejiang Museum since the early 1950s. It adopted the name Remaining Mountains. The two parts have stayed separate for hundreds of years since 1650.

A lot of people have wanted to see the two on display together. In 1986， a Japanese art historian photographed the two respectively in Taipei and Hangzhou and published the two together in a publication of celebrated top artworks put together by Ashahi Shimbun， a leading news media of Japan.

In fact Zhejiang took actions in the 1990s to bring the two together， but all the efforts came to nil. It was not until 2005 that the National Palace Museum in Taipei gave a positive response. In 2009， the two museums got down to business and started exploring the possibility of exhibiting the two parts together in Taiwan.

The turning point came in 2010 when Premier Wen Jiabao expressed his hope at a press conference during the NPC annual session that he would be very happy to see the two paintings come together in a joint exhibition as soon as possible. In June， 2010， Zhejiang Province Governor Lu Zushan said during his visit to Taiwan that Zhejiang would take the first step and bring the painting to Taiwan and hoped that the big part in Taiwan would one day come to the mainland.

On January 16th， 2011， a memo was signed in Hangzhou for the joint exhibition in Taiwan. By the time， the masterpiece had been in two pieces for more than 360 years and the two pieces had been separated by the Taiwan Straits for more than 60 years.

The joint exhibition is scheduled to start on June 1， 2011 and end on September 25， 2011.

A handover ceremony was held on the afternoon of May 11 at Zhejiang Museum. It would first go to Beijing and then go to Taiwan later. At 2:55， the artwork was put into a tailor-made box inside which constant temperature and humidity were maintained. Regrettably， as it drizzled and humidity was quite high， the painting wasn’t opened for view at the ceremony.

The masterpiece is considered a priceless treasure for various reasons. Xu Hongliu， vice curator of Zhejiang Museum， says that Yuan Dynasty is one of the two peak periods in the art history of China when landscape painting experienced landmark transformation. Literati-styled landscape painting matured in the Yuan Dynasty. Huang’s masterpiece stands for this crowning glory of landscape painting in the Yuan Dynasty. Huang Gongwang is a great representative of the mature landscape painting of the dynasty. The long scroll depicts a dream landscape like Shangri-La where people can live in harmony with nature and poetry and beauty. This is why it holds such a tremendous appeal to viewers.

The joint exhibition of the two parts of a masterpiece embodies a much larger aspiration over the last 60 years: the reunion of the motherland torn apart in history.