内容提要
序一
上海在努力建设成为国际经济、金融、航运、贸易中心的同时，引来了举世注目的世博会。在这个特殊的时刻，举办“上海近现代绘画藏品特展”，具有不同寻常的意义。
这一展览也是世博会期间世博园区外的重要美术展览。 上海的美术在近现代中国美术史上占有重要的位置。早在明末清初，上海地区就形成了“松江画派”。19世纪中叶起，上海又形成了中国近代最为重要的绘画流派之一——“海上画派”。20世纪上半叶，上海美术画派林立，人才集聚，中国的油画、水彩、漫画、连环画、新兴木刻等新艺术样式相继发源于上海，并涌现出了一大批代表人物。
建国后，尤其是改革开放以来，上海的美术进入了一个新的发展时期。在“百花齐放、百家争鸣”的方针指导下，通过建立上海中国画院、上海油画雕塑院、上海美术馆等国有专业美术创作和展览机构以及上海市美术家协会等专业团体，汇聚了有影响有成就的艺术家，创作了许多兼具民族特色、时代精神以及个性风格的艺术精品。
文化的传承积累与文化创新建设同样重要。上海的艺术收藏一直以来是中国艺术收藏的重镇。如果说上海的收藏在1949年以前主要是以私人收藏为主的话，那么，1949年以后依靠体制上的优势，许多国有专业机构成为收藏的主力军，由于这些机构拥有最杰出的艺术家，所以其收藏也是近水楼台。正是国有体制的稳定发展，保证了其珍贵藏品的不断充实和有序积累。今天，这些藏品的价值已经超越了物质层面而升华为宝贵的精神财富和文化宝藏。它们不仅充实了上海的文化传统，也融入到了上海文化的现代化进程，成为文化大都市建设的不可或缺的艺术支援。
这次展出的150余件作品，是从上海中国画院、上海油画雕塑院、上海美术馆、刘海粟美术馆、上海市美术家协会五家单位的一万五千余件藏品中遴选出来的。从吴昌硕、任伯年、虚谷，到齐白石、黄宾虹，及至吴湖帆、贺天健、程十发；从颜文樑、周碧初、吴大羽，到刘海粟、张弦，及至俞云阶、陈逸飞，以及林风眠、吴冠中，精英荟萃，佳作辐辏。而这，只是上海国有专业机构所有藏品中的极小部分，虽然不免挂一漏万，但是限于场馆条件，仍不妨小中见大。片羽吉光，依然可以初步梳理出海派艺术的大致发展脉络。
文化要大发展大繁荣，满足和提高广大人民群众的审美要求是一个非常重要的前提。我们的藏品不应该仅仅局限于保管，局限于专业学习研究的范畴；更应该运用不同的形式，让这些珍贵的资源发挥最大的作用，更多更好地服务于社会主义文化建设，服务于人民群众。这就是“上海近现代绘画藏品特展”的初衷。
上海市文化广播影视管理局
上海市文学艺术界联合会
2010年6月
FOREWORD I
Shanghai is hosting the World Expo, a grand gathering of world cultures, while the city is emerging as the international economic, financial, shipping and trade center. As such, the Shanghai Special Exhibition of Pre-modern and Modern Paintings, staged to coincide with this cultural extravaganza, is set to become an extraordinary event.
Shanghai occupies a central position in the history of China's pre-modern and modern fine arts. As early as the turn of the Ming and Qing Dynasties, the "Songjiang school of painting" emerged in Shanghai. In the mid-19th century, the "Haishang school of painting", one of the greatest schools of painting in the pre-modern China, took shape in Shanghai. In the first half of 20th century, Shanghai was home to numerous schools of fine arts and a large pool of talent. The city is the cradle of Chinese oil painting, watercolor, cartoons, comic strips, new-style woodcarving, and many other fresh forms of arts, and is home to a significant number of great artists.
Since the founding of the People's Republic of China, and particularly the commencement of China's reform and opening-up drive, Shanghai's fine arts have been growing by leaps and bounds. Under the guideline of "letting a hundred flowers blossom and a hundred schools of thought contend", various state-owned creative art creation and exhibition institutions were formed, including the Shanghai Traditional Chinese Painting Institute, Shanghai Oil Painting and Sculpture Institute, and Shanghai Art Museum; and several professional bodies, such as the Shanghai Artists Association, were also established. They boast many highly accomplished artists and have produced a vast range of art masterpieces featuring national characteristics, spirits of the times, and distinctive styles.
The inheritance and preservation of culture is as important as cultural innovation. Shanghai has always been the center of China's art collection. Prior to 1949, art collection in Shanghai was dominated by private collectors, but since 1949, thanks to institutional advantages, professional organizations have become the main art collectors. As they boast the greatest artists, these organizations enjoy considerable advantages in art collection. With the steady development of the state ownership system, the collection of valuable arts has been expanding robustly. Today, many of the collection items are no longer just physical objects; rather, they have become a precious part of spiritual wealth and cultural heritage. They have not only enriched Shanghai's cultural traditions, but also been integrated in the modernization of Shanghai's culture, becoming an indispensable engine for developing Shanghai into a cultural metropolis.
The 150-odd works showcased at the exhibition have been selected from tens of thousands of paintings collected by four organizations, including the Shanghai Traditional Chinese Painting Institute, Shanghai Oil Painting and Sculpture Institute, and Shanghai Art Museum. The paintings featured are the greatest works by a large number of eminent artists, from Wu Changshuo, Ren Bonian and Xu Gu to Qi Baishi, Huang Binhong and to Wu Hufan, He Tianjian and Cheng Shifa, from Yan Wenliang, Zhou Bichu and Wu Dayu to Liu Haisu and Zhang Xian and to Yu Yunjie, Chen Yifei, Lin Fengmian, and Wu Guanzhong. Due to the limited space, the works featured at the exhibition are just a tiny part of the collections of the state-owned institutions in Shanghai. The reflection of a single drop of water cannot do justice to the brilliance of the sun. Nevertheless, these exhibits provide a glimpse of the evolution process of the Shanghai school of arts.
To continue to prosper culture, it's important to appeal to the public's aesthetic taste and improve aesthetic standards. The purpose of our collection should not be limited to preservation or specialized research; rather, we should endeavor to make the best use of these precious resources so that they can better serve socialist cultural development and the general public. This is exactly the aim of this Shanghai Special Exhibition of Pre-modern and Modern Paintings.
Shanghai Municipal Administration of Culture, Radio, Film and Television
Shanghai Federation of Literary and Art Circles
June 2010 （文章来源：《上海近现代绘画藏品特展作品集》）
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