历经700年的沧桑岁月，一代书画大师赵孟頫书画珍品，于今年金秋9月回到他的故乡湖州展出。
　　这次由故宫博物院、上海博物馆、辽宁博物馆、浙江省博物馆和湖州博物馆馆藏真迹39幅书画原作汇聚而成的《归去来兮——赵孟頫书画真迹回家展》，气势恢宏，光彩夺目。这些书画作品大都是国宝级精品，为建国后祖国大陆赵孟頫作品的“数量最多、规模最大、规格最高”的首次集中展示，称得上是中华文化的一次盛宴，非同凡响。这些旷世墨宝在湖州博物馆集中“亮相”，迎来了大批海内外人士的前往参观，成了湖州市今年国庆黄金周的一大亮点。
　　赵孟頫(1254～1322)，字子昂，号松雪道人、水晶宫道人，浙江吴兴(湖州人)，为赵宋王室后裔、元代著名书画大家，赵孟頫集诗、书、画、印之大成，开启了元代中国文人画的先河，对元、明、清及近代中国书画具有深远影响。世界天文组织把太阳系水星上的一座环形山，命名为“赵孟頫山”以志纪念。
　　素有“文化之邦”美称的浙江湖州市，书画史上涌现了赵孟頫、钱选、吴昌硕等一批开宗立派的大师级人物，因而有湖州人写就“半部书画史”之说。赵孟頫天资极高，博学多才，他“借古开今”，又身历五朝官至一品。由于他勤勉的实践、丰富的阅历以及广泛的交游，成就了他的书画造诣，成为一代文人画的领军人物，元代四大家黄公望、吴镇、王蒙和倪瓒，都在他的画学理论支持下进行画风变革与创造。更让人称道的是，赵氏一门才俊云集，赵孟頫妻子管道升、儿子赵雍、外孙王蒙(即元四家之一)、孙子赵麟都是著名书画家；他的学生黄公望 、陈琳、王渊、唐棣以及再传弟子盛懋，都以他的艺术风格为宗尚，蔚然形成吴兴绘画风气绵延影响到明、清两代直至民国和当代。
　　这次展览由浙江省文物局和浙江省湖州市人民政府精心操作，湖州文物局、博物馆具体落实，并得到故宫博物院、上海博物馆、辽宁省博物馆、浙江省博物馆等鼎力支持，因而这次展览办得有声有色，精彩纷呈。刚落成的湖州博物馆为这次展览营造了良好的展览环境，为了保护国宝，光营造昏暗的光线和恒温恒湿空间，就投入350万元。
　　
　　
　　这次展出的“归去来兮”主题也十分鲜明，上海博物馆、辽宁省博物馆和湖州博物馆的三件《归去来辞》手卷各具光彩，实现了大师“回家”这一主题。本次展出的《秋郊饮马图》，系赵孟頫存世作品中唯一一幅有其供职内廷期间年款的画迹，取法唐人遗韵，青绿设色而兼具文人儒雅气息，具有很高的历史和艺术价值；《行书洛神赋卷》是赵孟頫同类行书中最精彩的一幅，代表了赵孟頫行书的最高水平；《水村图卷》《吴兴清远图卷》等，都是首次走出库房与大众见面。作为一个湖州人，赵孟頫在33岁前长期潜居家乡读书、创作，对家乡倾注了巨大的热情，《吴兴赋卷》《吴兴清远图卷》《北村图卷》等都是让湖州山水闻达于世人的杰作，它们在家乡的殿堂中默默地诉说着赵孟頫的家乡情愫。更为这次展出增光添彩的，是这次展品中大都为长卷，内有大量元及元之后历代著名书画家的题跋，其中有文徵明、董其昌等大家和乾隆御书“清华”等旷世墨宝。
　　为配合此次大展，浙江省湖州市人民政府与中国美术学院还联合举办了“赵孟頫国际学术研讨会”，来自日本、韩国和香港、澳门及国内各大艺术院校和博物馆的相关研究专家以及中国美术学院的各国留学生，就赵孟頫的生平及书画艺术成就展开了高层次的学术研讨。
　　相关评论摘编
　　赵孟頫是湖州走出去的、对世界影响最大的湖州人，赵孟頫的家乡情结也堪称旷世稀有。这位曾经的赵宋王朝的王孙，却成了蒙元帝国的重臣；他既是当时汉族文化的代表，却又是最受蒙元皇帝器重的汉人；他是迷恋江南文化氛围的文人画家，却要无奈地长期漂泊北方官场——也许正是这种矛盾与复杂，历练他成长为元代的文坛领袖、美术大家，也正是这种矛盾中充满自责的心境使得故国家园成了他慰藉心情、浸淫灵魂的理想港湾，归隐、思乡是他相伴一生的心结。 (中共湖州市委书记、湖州市人大常委会主任孙文友)
　　
　　
　　我辈欣逢赵孟頫所赞美、所期望的清平盛世，天下一家，犹以披览古先贤之法书宝绘，最得四方响应。北京故宫博物院、上海博物馆、辽宁省博物馆为国内文博界的庋藏重镇，皆慷慨施以援手；浙江省博物馆所奉上之《吴兴赋卷》，湖州市博物馆出以新近获藏之《归去来辞卷》，亦最见乡梓情深。 (浙江省文物局局长鲍贤伦)
　　
　　赵孟頫是元代文人画的开创者和推动者，是元代最负盛名的书画家之一。他托古改制，师法晋唐五代和北宋，主张书画创作要有“古意”、“士气”，倡导“书画同源”，注重师法自然，从而奠定了元代文人画的理论基础。同时，他博采众家之长，大胆实践，在诗文、绘画、书法、音乐等领域拥有全面才识，而尤以书画方面成就最为突出，为一代之冠。(文化部副部长、故宫博物院院长郑欣淼)
　　
　　赵孟頫是元代著名的书画大家。他不但兼擅真、隶、草、篆、行各体书法，而且绘画创作的范围也相当广泛，既有人马、山水、花鸟、竹石诸门画科，又兼用重彩青绿、浅色写意或者纯水墨技法。他提出“书画本同”，上接历代“书画同源”的传统，并倡导“以书入画”，以书法性用笔来表现个人的性情；他提出著名的“古意论”，其实质是重温晋唐意趣、开创时代新风的“借古开今”。 (上海博物馆馆长陈燮君)
　　
　　辽宁省博物馆由于历史的机缘，收藏了清宫散佚古代书画精品，其中赵孟頫的书画作品达七件之多，此次有六件作品出展，均为赵孟頫中年(50岁)以后成熟时期作品，代表了其法度谨严、隽秀雅逸的典型风格。《红衣西域僧图卷》是赵孟頫50岁时所作的人物画作品，笔墨精致，气韵古雅，所画题材为赵氏人物画所少见，代表了其盛年时期人物画的风格与成就。 (辽宁省博物馆馆长马宝杰)
　　
　　
　　Masterpieces on Display at Artist's Hometown
　　By Cheng Fang
　　
　　In September 2007, an exhibition was held in memory of Zhao Mengfu (1254-1322), in Huzhou, Zhejiang Province, the hometown of the leading artist of the Yuan Dynasty (1271-1368).
　　Zhao Mengfu was a descendent of the royal family of the Song Dynasty which toppled when the Mongols invaded China in the 13th century. He served the new dynasty as an important court official. The new rulers held him in high regard. As an artist, Zhao was and is celebrated for his accomplishments in poetry, calligraphy, epigraphy and painting. Most importantly he introduced a scholarly charisma into landscape painting, exerting a huge impact on artists one generation after another. His strong influence has lasted through the dynasties of the Yuan, Ming and Qing up to modern times. The people of Huzhou think of Zhao Mengfu as the best known Huzhou local in the world. Their pride is firmly corroborated by the fact that a crater on the Mercury is named after this accomplished Chinese artist.
　　
　　On display at the exhibition were 39 original artworks by Zhao, contributed by the National Palace Museum, Beijing, Shanghai Museum, Liaoning Museum, Zhejiang Museum and Huzhou Museum. Most of the masterpieces on display were rated as national treasures. No exhibition since 1949 had so ceremoniously displayed so many of Zhao's artworks. The milestone exhibition attracted a lot of people.
　　It is no accident that Zhao came from Huzhou, for the legendary land of rice and fish was also famed for its wealth of culture and art in history. Zhao Mengfu, Qian Xuan and Wu Changshuo of Huzhou were innovative artists who made breakthroughs in their creative practices and ushered in new styles in painting and calligraphy. This explains a phenomenon art historians have long since defined: half of the Chinese history of painting and calligraphy is about masters from Huzhou.
　　
　　Zhao was a talented and erudite artist. His gradual rising to a top-ranking official in his long political career during the reigns of five emperors of the Yuan dynasty helped him attain rich experiences and make friends with a lot of people. As an artist, Zhao came up with insightful theories on art. His ideas pointed new directions for himself and inspired his disciples. The master and disciples made stylistic innovations and successful breakthroughs and became most accomplished artists of the dynasty. With their immortal artworks, they combined to exert a lasting influence on artists in subsequent dynasties.
　　Most appropriately, the theme of the exhibition was "Homecoming". Zhao was from Huzhou and he devoted himself to studies of art and education at home before he was thirty-three. His paintings of that time interpret local landscape fascinatingly. Of the 39 artworks on display at the exhibition were three calligraphic handwritings of Going Home by Tao Yuanming (c.365-427). Going Home is arguably one of the greatest essays in Chinese history by a writer who thought serving as a government official was humiliating and meaningless and yearned for a life of farming and abandoning himself to wine and poetry. The three handwritings in the running script indicate what Zhao thought about himself, his hometown, and his service for the Mongols.
　　
　　An international seminar was simultaneously held. Participants included scholars from Japan, Korea, Hong Kong and Macao, experts and researchers from universities and museums across the country, and foreign students from China Academy of Art. Their discussions focused on Zhao's life and his artistic accomplishments.
　　(Translated by David)