翁同龢后人給波士頓藝術(shù)博物館送了份大禮
As a child in China, Wan-go H.C. Weng, born to a family of art collectors that stretched five generations before him, remembers standing on tiptoes to see the fine paintings and calligraphic scrolls splayed on the family table as his father and his friends surveyed them with a critical eye. His father, playfully, would dismiss the boy’s curiosity, he recalled recently. “What do you know?” he would chide. Weng, undaunted, would respond: “I don’t know anything, but I like to look.”
翁萬(wàn)戈出生中國(guó)一個(gè)藝術(shù)收藏家庭，翁家收藏藝術(shù)品已經(jīng)歷了五代。他還記得小時(shí)候，踮起腳尖看父親和朋友們用挑剔的眼光審視擺在家里桌子上的精美書畫卷軸。他最近回憶，當(dāng)時(shí)父親開玩笑似的沒有把這個(gè)孩子的好奇心當(dāng)回事。“你知道什么?”父親輕叱道。膽大的甕萬(wàn)戈會(huì)說(shuō):“我什么都不知道，但我喜歡看?！?br>
More than 90 years later, a passion seeded in boyhood has culminated in the largest gift of Chinese art ever received by the Museum of Fine Arts. Weng has donated his family’s collection of 183 works of art — spanning 13 centuries and five dynasties of Chinese Imperial rule, built over six generations — to the museum. “He made a significant decision,” said Matthew Teitelbaum, the museum’s director. “This is a collection that’s been handed down through the family from one generation to another. This is a legacy gift, and I wouldn’t underestimate that word for him.”
90多年后，少年時(shí)代播下的熱情種子在波士頓美術(shù)館收到最大的中國(guó)藝術(shù)品捐贈(zèng)的時(shí)刻達(dá)到了頂峰。甕萬(wàn)戈把家族收藏的183件藝術(shù)品全部捐給了波士頓美術(shù)館，這些藝術(shù)品跨越了13個(gè)世紀(jì)、歷經(jīng)五代中國(guó)王朝，凝結(jié)了6代人的心血?！八龀隽艘粋€(gè)重大決定，”波士頓美術(shù)館館長(zhǎng)馬修·泰特爾鮑姆說(shuō)，“這些都是家族代代相傳的收藏。是遺產(chǎn)的饋贈(zèng)，我們不能低估饋贈(zèng)這個(gè)詞對(duì)他的意義。
The gift helps make the MFA’s collection of Chinese paintings one of the most important outside China, the museum says.
Weng, himself a renowned scholar of Chinese art, is particularly intimate with the MFA’s collection of Chinese art. Last summer, the museum showed his family’s “10,000 Miles Along the Yangzi River,” a 53-foot long 1699 scroll painting by the artist Wang Hui, in honor of his 100th birthday. It was an outward display acknowledging a deep relationship nearly 70 years in the making. On the occasion, Weng donated the piece to the museum — one of more than 20 gifts that he gave over the years.
波士頓藝術(shù)博物館表示，有了這些禮物，博物館將成為境外典藏中國(guó)藝術(shù)品最大的博物館之一。
甕萬(wàn)戈本身就是一位著名的中國(guó)藝術(shù)學(xué)者，他尤其關(guān)心波士頓藝術(shù)博物館的中國(guó)藝術(shù)收藏。去年夏天，為了慶祝他的100歲生日，博物館特意展出了他家人收藏的《長(zhǎng)江萬(wàn)里圖》，該畫全長(zhǎng)53英尺(約合16.15米)，是畫家王翚1699年創(chuàng)作的。這次對(duì)外展出，顯示了翁家與波士頓藝術(shù)博物館近70年來(lái)的深厚關(guān)系?，F(xiàn)在甕萬(wàn)戈把這件作品捐給了博物館，多年來(lái)，他已經(jīng)向博物館捐贈(zèng)了20多件珍貴藏品。
Weng, who moved to New Hampshire in 1978, first connected to the museum through his own research in the 1940s, and he has been in close contact with a succession of curators and directors ever since. It afforded him a long view of the museum’s strengths and weaknesses, and how his collection might augment it.
甕萬(wàn)戈1978年搬到新罕布什爾，20世紀(jì)40年代經(jīng)由自己調(diào)查首次聯(lián)系到了博物館。從那以后，他一直與博物館館長(zhǎng)和中國(guó)藏品主管人員保持著密切聯(lián)系。因此他對(duì)博物館的優(yōu)點(diǎn)和缺點(diǎn)都比較了解，對(duì)他的藏品將如何增加博物館的價(jià)值也很清楚。
“That was something Wan-go was very aware of for many years,” said Nancy Berliner, the museum’s curator of Chinese art. “Our collection is very strong in early Chinese paintings, from about 950 [A.D.] to 1350. But we don’t have as many masterpieces from the later periods, the Ming and Qing dynasties. His intention was to fill that gap.”
Teitelbaum concurred. “Where we’re weak, [Weng’s collection] augments,” he said. “As an institution that wants to have a comprehensive collection of Chinese art, this collection fits like a hand in a glove in our narrative.”
“很多年前甕萬(wàn)戈就意識(shí)到這個(gè)問題了，”博物館的中國(guó)藝術(shù)策展人南?！ぐ亓旨{說(shuō)?！肮?50年到公元1350年的中國(guó)化，波士頓藝術(shù)博物館的藏品非常豐富。但是對(duì)明清時(shí)代杰出的藝術(shù)品收藏稍顯不足，甕萬(wàn)戈的就想幫助博物館填補(bǔ)這一空白?！?br>特德爾鮑姆館長(zhǎng)也這么認(rèn)為：“甕萬(wàn)戈的收藏能幫助博物館彌補(bǔ)不足，”他說(shuō)，“作為一個(gè)想全面收藏中國(guó)藝術(shù)品的機(jī)構(gòu)，在我們看來(lái)，甕萬(wàn)戈的收藏簡(jiǎn)直就是恰到好處?！?br>
Among the many significant elements of Weng’s gift, Berliner said, are major masterpieces from the era’s most important artists: “The Suzhou Sceneries,” an album by Shen Zhou, the founder of the Wu School, made in the late 15th and early 16th centuries; landscape and calligraphic master Wen Zhengming’s “Nine Letters to Home,” from the 16th century; and works by Chen Hongshou, a Ming dynasty master about whom Weng himself has written a definitive book.
柏林納說(shuō)，翁萬(wàn)戈的這筆捐贈(zèng)中有很多非常重要的藏品，大多出自那個(gè)時(shí)代最重要的藝術(shù)大師，比如吳派創(chuàng)始人沈周作于15世紀(jì)末到16世紀(jì)初的《蘇臺(tái)紀(jì)勝十六頁(yè)書畫冊(cè)》；風(fēng)景和書法大師文徵明作于16世紀(jì)的《九日閑居圖》；還有明代大師陳洪綬的作品，翁萬(wàn)戈還曾經(jīng)寫過(guò)一部關(guān)于他的著作。
Weng came to the United States in 1938 to study engineering at Purdue University, but quickly grew bored with the field and found himself working as a comic book artist in New York before eventually taking up documentary filmmaking. After a short stint in Hollywood, Weng returned to New York to make films about Chinese art and culture. In 1948, the year before the Communist revolution in China, Weng brought his family collection to the United States.
1938年，翁萬(wàn)戈來(lái)到美國(guó)普度大學(xué)學(xué)習(xí)工程專業(yè)，但很快就對(duì)這個(gè)領(lǐng)域感到厭倦，于是就在紐約從事漫畫藝術(shù)家的工作，后來(lái)又從事紀(jì)錄片制作。在好萊塢短暫停留后，甕萬(wàn)戈回到了紐約，拍攝一些中國(guó)藝術(shù)和文化方面的電影。1948年，中國(guó)共產(chǎn)主義革命前，甕萬(wàn)戈帶著自己家族的收藏來(lái)到了美國(guó)。
His pursuits naturally led him to the MFA, where one of the country’s best collections of early Chinese art resided. And while Weng has given select pieces to other museums over the years, including the Harvard Art Museums, the Metropolitan Museum of Art in New York, and the Shanghai Museum, the MFA has always held a special place, he says.
他的藝術(shù)追求自然驅(qū)使他找到了波士頓美術(shù)館，這里里是中國(guó)早期藝術(shù)最好的收藏場(chǎng)館之一。他說(shuō)，雖然自己多年來(lái)一直把一些精選的藝術(shù)品贈(zèng)給其他博物館，包括哈佛美術(shù)館、紐約大都會(huì)藝術(shù)博物館和上海博物館，但波士頓美術(shù)館在他心里一直占據(jù)著特殊的位置。
“The first museum I ever visited in the US was the Museum of Fine Arts in Boston, and it became my museum,” he said in a statement. The relationship, long-standing, has become “particularly warm and meaningful for Wan-go over the last number of years,” Teitelbaum said. “We never asked for his collection. We let him know we were prepared to be the custodians of his collection, and I feel that very heavily: the sense that the institution will honor the spirit of the collector.”
“我在美國(guó)參觀的第一個(gè)博物館就是波士頓美術(shù)博物館，看到這座博物館的第一眼，我就認(rèn)定了，這就是我要找的博物館，”他在一份聲明中說(shuō)。泰特爾鮑姆館長(zhǎng)說(shuō)，博物館和翁老先生的關(guān)系已經(jīng)很久了，博物館讓“翁萬(wàn)戈在過(guò)去很多年都感受到了溫暖而有意義”?！拔覀儚膩?lái)沒有主動(dòng)要過(guò)他的藏品。但我們會(huì)讓他知道博物館時(shí)刻準(zhǔn)備成為他藏品的保管者。要讓翁老先生深深地感到:博物館會(huì)尊重收藏者的精神。
Weng’s donation marks the second major gift for the MFA in just over a year. Last October, the MFA announced that it would receive 113 works of Dutch and Flemish golden age works from collectors Rose-Marie and Eijk van Otterloo and Susan and Matthew Weatherbie.
甕萬(wàn)戈捐贈(zèng)的這批收藏品是波士頓美術(shù)博物館一年來(lái)收到的第二重要的禮物。去年10月，波士頓藝術(shù)博物館宣布將從收藏家羅斯-瑪麗、艾克·范·奧特盧、蘇珊和馬修·韋瑟比那里收到113件荷蘭和佛蘭德黃金時(shí)代的作品。
評(píng)論部分
-dottie
Wow, the Peabody Essex must be pissed.
哈哈，皮博迪埃塞克斯博物館一定氣壞了。
bnixon
Probably not....looks like he had no particular connections to the PEM. This will only enhance the MFA's already fantastic Chinese art collection. With collections like the PEM's and the MFA's, the Boston area is second to none in the US for Asian art.
應(yīng)該不會(huì)，甕萬(wàn)戈跟皮博迪埃塞克斯博物館沒有什么特別的聯(lián)系。這些捐贈(zèng)會(huì)對(duì)波士頓藝術(shù)博物館非常豐富的中國(guó)藝術(shù)品收藏錦上添花。擁有皮博迪埃塞克斯博物館和波士頓藝術(shù)博物館這樣的收藏，波士頓地區(qū)在亞洲藝術(shù)方面是美國(guó)首屈一指的。
yogasong44
Looking great and so active at 100! I wonder if he ever had any children.
簡(jiǎn)直太棒了，100歲了還這么精神!我想知道他是否有過(guò)孩子。
swfoutsida
Interested?
感興趣嗎?
galileo
Hope the MFA will exhibit more of their fabulous Asian collection. They’ve been pretty stingy with it lately.
希望波士頓藝術(shù)博物館能展示更多亞洲藝術(shù)品收藏。博物館最近相當(dāng)吝嗇。
menotomygirl
Agree. They have treasures of Asian art in their archives, too few of which is displayed. I know some such works are fragile and can only be shown with the right lighting, and not too much or too long. But when you see enormous galleries filled with shallow contemporary pieces, it's sad to think of what could be seen.
同意。波士頓藝術(shù)博物館保存著許多亞洲藝術(shù)珍品，但很少展出。我知道有些藝術(shù)品比較脆弱，對(duì)燈光照射時(shí)間有規(guī)定，光線不能太強(qiáng)，也不能太久。但當(dāng)你看到寬敞龐大的畫廊里擺滿了膚淺的當(dāng)代作品時(shí)，想到還有好多可以看的藝術(shù)品，就會(huì)很傷感。
garymichael
i don't know the politics of all this but what a generous gift. more people in America will get to see this style of art.
我不知道這次捐獻(xiàn)有什么政治意義，但無(wú)論如何這是一份多么慷慨的禮物啊。更多的美國(guó)人將會(huì)看到這種風(fēng)格的藝術(shù)。
Boston_Born_Bred
Bravo to the gift of generosity!
為慷慨的禮物喝彩!
swfoutsida
I read this as 'MBTA receives giant gift of Chinese art.' Mind went so far to imagine that these would somehow be displayed!!! :)
What an absolutely AMAZING donation -
'Weng has donated his family’s collection of 183 works of art — spanning 13 centuries and five dynasties of Chinese Imperial rule, built over six generations '
我讀這篇文章的時(shí)候，我還以為是美國(guó)馬薩諸塞州交通局收到了中國(guó)藝術(shù)品的巨大禮物。滿腦子都是這種東西會(huì)以某種方式展示出來(lái)!!!”:)
多么驚人的捐贈(zèng)-
“甕萬(wàn)戈把家族收藏的183件藝術(shù)品全部捐給了波士頓美術(shù)館，這些藝術(shù)品跨越了13個(gè)世紀(jì)、歷經(jīng)五代中國(guó)王朝，凝結(jié)了6代人的心血”。
BornSerious
This is great. Next, it would be wonderful if someone donated lots of money so the MFA could use it to build more museum space and get many of its archives out into the public eye.
太偉大了。接下來(lái)如果再有人捐很多錢，讓波士頓藝術(shù)博物館擴(kuò)建博物館，就可以展示更多的收藏品，觀眾能看到更多的收藏品，這非常棒。
Lynn1066
Sincere thanks to Mr Weng for his generous gift! The people of Boston are pleased and proud to have this collection at the MFA!
衷心感謝翁先生慷慨的禮物!波士頓人們很高興和自豪波士頓藝術(shù)博物館收藏了您的藏品!
LXL
What a marvelous gift! And unique in so many ways, which is evident in the short video of the amazingly sprite 100-year-old Mr. Weng describing "10,000 Li Along the Yangtze River." Unlike most private collections assembled by a single wealthy individual, this was built by a single family passing on their taste and acumen over multiple generations, befitting the subject of classical Chinese painting. Objects were likely considered and sought after for long periods by family members while they saved up the money to purchase them. And many if not most of these scroll paintings were not displayed on walls of a large house meant to project the owner's wealth, but only taken out and unfurled for the private viewing pleasure of individuals.
多么神奇的禮物啊!在各個(gè)方面都是獨(dú)一無(wú)二的，這一點(diǎn)從翁萬(wàn)戈的短片中就可以看出來(lái)。100歲高齡的翁老在短片中神采奕奕解說(shuō)那幅著名的《長(zhǎng)江萬(wàn)里圖》。與大多數(shù)由富豪個(gè)人收藏的藏品不同，翁老捐贈(zèng)的藏品是整個(gè)家族收藏的，家族的品位和對(duì)藝術(shù)的敏銳代代相傳，這與中國(guó)古典繪畫的主題相契合。這些藏品可能是家族成員深思熟慮、苦苦尋找了很久，然后攢錢買下的。而且這些畫卷很多都沒有為了展示主人的財(cái)富而被懸掛在大房子的墻上，而是偶爾被拿出了展示，供個(gè)人欣賞。
I agree with several other readers that the question now is how to display this fabulous collection for the museum public. Moving administrative functions as well as the Asian art library (now inconveniently housed in the old Horticultural Hall) to the Forsyth Institute building sounds like a great idea. In any event, a digital program that not only covers all of the works but also the history of the family that collected them should complement any selection of actual objects on display. Nothing like this multigenerational family art collection exists anymore in China itself, so it will attract a new generation of classical art enthusiasts and collectors from China.
我同意一些讀者的看法，現(xiàn)在的問題是博物館如何向公眾展示這些精彩的藏品?？梢园研姓块T和亞洲藝術(shù)圖書館(現(xiàn)在坐落在古老的園藝大廳很不方便)搬到福賽斯學(xué)院大樓。無(wú)論如何，展品的數(shù)字介紹不光要涵蓋所有的作品的歷史，而且還要包括收藏這些作品的家族的歷史，展示家族是如何收藏到這些藏品的，這是對(duì)藏家這些精品的贊美。這種代代相傳的家族藝術(shù)品收藏在中國(guó)已經(jīng)絕跡，所以，這樣做能吸引中國(guó)新一代的古典藝術(shù)愛好者和收藏家。
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