How to Show the Eight Masters in Tang and Song Dynasties： Three Exhibition Halls, Dependent on Context

　　The article is "the great cause of statecraft, an immortal event", and literature is the most proud treasure in the 5,000-year history of Chinese civilization. On December 2, "The mountain is high and the water is long — — The eight masters’ theme cultural relics exhibition in Tang and Song Dynasties was exhibited in Liaoning Provincial Museum. The exhibition is divided into three exhibition halls, with a total of 115 exhibits (groups) including calligraphy, painting, ancient books, rubbings and ceramics. More than 30 cultural relics in Liaobo met the audience for the first time. So, how are these three exhibition halls furnished and displayed?

　　The Paper learned that the first part of "Wen Chui Thousand Years" started from "context". It can be said that "context" is the core of this exhibition, whether it is cultural relics, calligraphy and painting or ancient books.

　　Exhibition site Shenyang net map

　　The "Eight Masters Theme Cultural Relics Exhibition in Tang and Song Dynasties" is based on the large poster of "Red Cliff Map" by Chou Ying in Ming Dynasty, Liaoning Museum Map.

　　Stepping into the Liaoning Provincial Museum, "The mountain is high and the water is long — — The exhibition hall of "Eight Masters’ Theme Cultural Relics Exhibition in Tang and Song Dynasties", a large poster whose design is based on the "Red Cliff Map" in Chou Ying in Ming Dynasty, is like a huge scroll of calligraphy and painting, which is slowly spread out. Whether it is a piece of paper, the collection of Han Yu’s poems and poems in the Qing Dynasty, the collection of Mr. Changli from Han Yu’s Zhu Wengong School in Song Dynasty, or the appreciation of Su Dongpo’s poems and paintings on the river with his friends in the book trail, it makes the audience step by step approach the eight masters in Tang and Song Dynasties simple and detached.

　　Photo courtesy of Liaoning Museum: Collection of Mr. Changli of Zhu Wengong School by Han Yu carved in Song Dynasty

　　Guan Qiang, deputy director of National Cultural Heritage Administration, said at the opening ceremony of the exhibition on December 2, "The Eight Masters of Tang and Song Dynasties are the peak of China’s literary history, and their advanced ancient prose movement has the dual significance of literary innovation and ideological enlightenment. Promoting and publicizing the literary achievements, life stories and feelings of home and country of the eight masters in Tang and Song Dynasties through cultural relics exhibitions is of positive significance for demonstrating and inheriting the humanistic spirit and value orientation in the traditional culture of the Chinese nation, building socialist core values and enhancing cultural self-confidence. "

　　Liaoning Daily at the opening ceremony

　　Eight famous prose writers in Tang and Song Dynasties, also known as "Eight Prose Writers in Tang and Song Dynasties", are eight essayists in Tang Dynasty, namely Liu Zongyuan and Han Yu, and Ouyang Xiu, Su Xun, Su Shi, Su Zhe, Wang Anshi and Ceng Gong in Song Dynasty. Among them, Han Yu and Liu Zongyuan were the leaders of the ancient prose movement in the Tang Dynasty, Ouyang Xiu and San Su (Su Shi, Su Zhe and Su Xun) were the core figures of the ancient prose movement in the Song Dynasty, and Wang Anshi and Ceng Gong were the representatives of Linchuan literature. Han Yu and Liu Zongyuan are the advocates of the "ancient prose movement", and the wave of ancient prose innovation they have set off has made the old face of poetry development look brand-new. Among the eight great people, there are three Su’s father and son, who are called "Sansu", namely Su Xun, Su Shi and Su Zhe, and they are also known as "three bachelors in one school". Therefore, it can be summarized as "Han Liuou Wang Zeng Sansu".

　　"Eight Prose Masters in Tang and Song Dynasties"

　　Dong Baohou, deputy director of Liaoning Provincial Museum, said that the Eight Masters of Tang and Song Dynasties are a literary concept. It can be said that it is innovative to present the Eight Masters of Tang and Song Dynasties to the audience in the form of cultural relics exhibition. "In this exhibition, we have a lot of innovations in the concept of curation. There are many national treasures in Liaobo collection, and more than 30 cultural relics meet the audience for the first time."

　　Photo courtesy of Liaoning Museum in the exhibition hall of "Wen Chui Thousand Years"

　　Photo courtesy of Liaoning Museum at the exhibition site

　　The Paper was informed that the exhibition is divided into three exhibition halls, which are divided into three parts: "a thousand years of literature", "a firm sense of virtue" and "feelings for home and country". Under each part, several units were set up, and 115 pieces (groups) of exhibits including calligraphy, painting, ancient books, rubbings on rubbings and ceramics were exhibited, supplemented by videos and other ways to introduce the literary achievements of the "Eight Masters of Tang and Song Dynasties" and convey their spiritual world.

　　For the display of the exhibits in this exhibition, many viewers expressed great care, the design of the exhibition was also pleasing to the eye, and more importantly, there were many famous sites, which was "a feast for the eyes."

　　Some people in the art world also said that it is very difficult to interpret the "Eight Masters of Tang and Song Dynasties" with cultural relics or calligraphy and painting. From the works presented, the planning is really careful. "However, the appropriateness of individual exhibits deserves further consideration. If the exhibits are selected more appropriately, they may be more brilliant."

　　Exhibition hall site. first part

　　Writing for thousands of years: presenting the literary achievements of eight masters in Tang and Song Dynasties

　　The article is "the great cause of statecraft, an immortal event", and literature is the most proud treasure in the 5,000-year history of Chinese civilization. In the pre-Qin period, literature had not yet achieved an independent status, and its concepts were also ambiguous and ambiguous. Since the Han Dynasty, it gradually got rid of the vassal status of Confucian classics and became independent, and its aesthetic characteristics were revealed. Wei-Jin period is a "conscious era of literature", the status of literature is gradually recognized, and "Jian ‘an literature" leads for a while. Wei-Jin period was the period when classical poetry flourished and reached its peak. The prose was close to poetry, and poetic parallel prose appeared. Because of the rhetoric piled up, it often affected the content expression, and the voice of style reform was growing louder and louder.

　　The "Eight Masters of Tang and Song Dynasties" felt the bad writing style of parallel prose since the Wei, Jin and Six Dynasties, and proposed to restore the style of ancient prose and inherit the prose style of Zhou, Qin and Han Dynasties, which was free, simple and unconstrained. The article did not deliberately ask for flowery rhetoric, but sought profound ideas and beneficial contents to the world. Starting from reality, it advocated the unity of literature and Taoism, that is, "Ming Dow is the place where literature is based". Han Yu’s theory was supported by Liu Zongyuan, followed by six schools in the Northern Song Dynasty. Together, they led the style of writing in the Tang and Song Dynasties into a new era, forming a new literary trend, which made prose re-enter the road of being easy-going and reflecting real life. Since then, the ancient prose of the "Eight Masters of Tang and Song Dynasties" has shone brilliantly, and its influence has continued to this day.

　　The Tang and Song Dynasties were the splendid times of China culture, and the Li and Tang Dynasties expanded its territory. Under the background of strong national strength, Tang Wenhua presented a magnificent and inclusive atmosphere. This is also an era of unprecedented active poetry creation, which can be described as bright stars, shining in ancient and modern times. Different from the Tang poetry, which has a wide meaning and a myriad of weather, the paintings in the Song Dynasty are full of chic and heroic spirit, elegant and delicate, gentle and quiet beauty, and have made outstanding achievements. At the same time, the porcelain-making technology in the Song Dynasty has reached a prosperous period.

　　Part of Zhao Ji’s "Ruihe Map" of Huizong in Northern Song Dynasty

　　The first part of this exhibition, Wen Chui Thousand Years, consists of three units, namely, context, ancient prose, Take the northern song dynasty’s anonymous imitation of Gu Kaizhi Luoshen Fu Tu, the southern song dynasty’s Emperor Gaozong Zhao Gou’s Book Ma Hezhi’s Painting of Tang Feng Tu, the southern song emperor Gaozong Zhao Gou’s Zhang Cao Shu Luoshen Fu, the song dynasty’s engraving of Mr. Changli’s Collection of Zhu Wengong School by Han Yu, the Yuan dynasty’s engraving of Su Zhe’s Annotated Collected Works of Mr. Ying Bin from Donglai, the northern song dynasty’s Li Cheng’s Painting of Maolin Yuanyao, and the northern song dynasty’s Huizong Zhao Ji.

　　Among them, the northern song dynasty’s anonymous "Imitation of Gu Kaizhi Luoshen Fu Tu" painted figures, landscapes, arowana, chariots and horses, sacred objects, and small regular script was written in the blank of the picture. This volume is the only copy of the Song Dynasty in the six volumes of "Luoshen Fu Tu" known at present. The figures are meticulous and vivid, the clothes are elegant, the rocks are mainly hooked and dyed, and the trees are sandwiched with leaves and slightly dyed, which largely retains the artistic characteristics of Gu Kaizhi’s paintings. It was hidden in the Imperial Palace in the early Southern Song Dynasty, handed over by Ye Yue and Xiang Yuanbian in the Ming Dynasty, handed over by Wang Duo and Liang Qingbiao in the early Qing Dynasty, and then entered the Imperial Palace, which was recorded in the sequel to Shiqu Baodi.

　　Gu Kaizhi (about 345— 409), the word long kang, small character tiger head, Wuxi people, knowledgeable and versatile, good at painting, figure painting is especially wonderful.

　　The Song Dynasty Imitation of Gu Kaizhi Luoshen Fu (partial)

　　In the Northern Song Dynasty, Li Cheng’s "The Far Cave of Maolin" painted the scenery of summer forests, with overlapping peaks and verdant leaves, the rise of strange peaks and clear forests. The painting techniques are mainly hook, rub and dye, and have not yet shown the typical method of painting. According to Xiang Shui’s postscript in the Southern Song Dynasty, this volume was once hidden by Lu Gongbi, the assistant envoy of Song Yingzong, and was later collected by Jia Sidao, Xian Yushu, Wu Yongcheng, Xiang Yuanbian and Liang Qingbiao, and later recorded in the Qing Dynasty’s imperial palace.

　　Part of Li Cheng’s "Maolin Distant Cave Map" in Northern Song Dynasty

　　In the Southern Song Dynasty, Zhao Gou’s calligraphy and Ma Hezhi’s painting "Mao Shi Tang Feng Tu" took twelve poems of Mao Shi tang style as the theme, and Zhao Gou wrote poems and Ma Hezhi painted them alternately. The calligraphy is exquisite and the brushwork is old. Painting composition washing practice, concise lines. This volume was collected by Zeng Yi in the Southern Song Dynasty, and was collected by Yan Fenyi, Han Shineng and Xiang Zijing in the Ming Dynasty. In the Qing dynasty, it was collected by Geng Zhaozhong and others, and then entered the inner government, which was recorded by Shiqu Baodi.

　　In the Southern Song Dynasty, Zhao Gou, the Emperor Gaozong, painted a picture of Mao Shi Tang Feng by Ma Hezhi. The silk book was colored and hand-rolled, with a length of 28.6 cm and a length of 827.1 cm. It was collected in Liaoning Provincial Museum.

　　Zhao Gou (1107— 1187), that is, Emperor Gaozong of the Southern Song Dynasty, whose word was Deji, was in office for thirty-six years. He paid attention to calligraphy and painting, and he worked hard in calligraphy, which had a great influence on the calligraphy of monarch and minister in the Southern Song Dynasty. Another Zhao Gou calligraphy work, Zhang Cao Shu Luo Shen Fu, was also exhibited in this exhibition.

　　Zhang Cao Shu Luo Shen Fu is the full text of Zhang Cao Cao Zhi’s Luo Shen Fu when Zhao Gou abdicated and lived in seclusion in Deshou Hall. The style is simple, the brushwork is calm and round, and the brushwork is rigorous and full of charm. The words are not connected with each other and formed separately, but the brushwork is well-connected, and there is still a sense of indifference. In the past, Zhan Jingfeng’s An Introduction to the East Map, Zhang Chou’s The Painting Boat of Qinghe Book, Wang Keyu’s Coral Net, Qing Gufu’s Spectacular Life, Bian Yongyu’s A Collection of Paintings and Calligraphy in the Ancient Style Hall, and The First Collection of Shiqu Baodi were recorded.

　　Zhao Gou, Emperor Gaozong of the Southern Song Dynasty, wrote Luo Shenfu in cursive script, and this chapter in cursive script was hand-rolled, with a length of 27.3 cm and a width of 277.8 cm.

　　Collected by Liaoning Provincial Museum

　　The collection of Mr. Changli of Han Yu Zhu Wengong School in Song Dynasty is a collection of Han Yu’s poems and essays, compiled by Li Han, a master of Han Yu. There are 30 volumes of prose, 10 volumes of poetry and fu, and 10 volumes of Waiji compiled by Song people. Zhu Xi’s collation of Han Ji is the most important and authoritative version of Han Yu’s literary collection. This Linjiang Military Academy is the superior of the Song Dynasty Military Academy, which can be used to investigate the errors of the Ming and Qing Dynasties. This episode is the old collection of the Qing Palace, recorded by Tianlu Linlang.

　　"moral certainty" part

　　Decisive Virtue: Telling the Life Experience of Eight Masters in Tang and Song Dynasties

　　Everyone in the "Eight Masters of Tang and Song Dynasties" has experienced many vicissitudes and ups and downs several times. Their life experiences are different, but in calm and self-confidence, they all live their true selves. In the vast literature works, there are countless biographies of the Eight Masters, and there are countless comments and expositions on their success or failure. However, from the perspective of history, the articles, life experiences and paintings left by the Eight Masters depict their integrity and openness, show their life trajectory and spiritual outlook, and let people appreciate their height and wisdom in life.

　　Song Tuo Su Shi’s Regular Script Ouyang Xiu’s Zuiweng Pavilion

　　The part of "Virtue Assured" shows eight units, namely, Hao Jian Xiong Fang, withered Cui Wei, a generation of literate scholars, words without words, touching the place to give birth to spring, Wang Yang Lian Bo, Chao Yi Qun Yan, and unparalleled outstanding figures. — Exhibited on December 22, 2020), Sushi’s Hangshu Yangxian Post in the Northern Song Dynasty, and Sushi’s Xiaoxiang Bamboo Stone Map in the Northern Song Dynasty (February 2, 2021.2.2— — Exhibited in March and February, 2021), Wang Anshi’s Poem as a Running Script by Yuan Xianyu, Wang Anshi’s Poem as a Running Script of Mozhu by Yuan Zhaoyong, and other national treasures, supplemented by several contemporary rubbings to tell the story of Han Yu, Liu Zongyuan, Ouyang Xiu, Su Xun, Su Shi, Su Zhe, Ceng Gong and Wang Anshi.

　　Among them, Su Shi’s "Fu of Spring Scenery in Dongting and Fu of Songlao in Zhongshan" was written in Shaoshengyuan in the Northern Song Dynasty (1094), which is a masterpiece of Su Shi’s calligraphy in his later years. There are more than 680 words before and after, which is the largest number of words in its ink. The words in the text are about the size of ancient money, and the structure is slightly flat, showing the trend of low left and high right. The writing is calm, smooth and steady, and the essence is contained throughout, looming the mighty image of Wang Yang. After the volume, Yuan Zhang Kongsun, Ming Huang Yangzheng, Li Dongyang, Wang Maodeng, Wang Shizhen, Zhang Xiaosi in the late Ming and early Qing Dynasties wrote the sequel to Shiqu Baodi.

　　Part of Su Shi’s Poems on Spring Scenery in Dongting and Song Lao Fu in Zhongshan in the Northern Song Dynasty

　　In the Northern Song Dynasty, Su Shi wrote a 68-word running script, which recorded Su Shi’s correspondence with friends to discuss the purchase of land. Although the glyph structure is sharp-edged, it is honest and simple, and it still has the brushwork of Lanting, and it is beyond deliberate exercise. Slightly combining rigidity with softness, the pen is tactful and the style is indifferent, which just reflects the author’s uneasy mood of wanting to retreat. This post was collected by Guo Bi in Yuan Dynasty, Lu You, Shen Zhou in Ming Dynasty, Cui Shen, Xiang Yuanbian, etc., and recorded in the sequel of Shiqu Baodi.

　　Su Shi’s "Yang Xian Tie of Running Script" in Northern Song Dynasty

　　In the Northern Song Dynasty, Su Shi’s Xiaoxiang Bamboo Stone Picture (Biography) shows the elegance and elegance of the close-range boxing stone and bamboo with a very layered brush and ink, and the misty landscape in the distant view makes people feel like reading thousands of miles in the frame. It is a model work that entrusts the literati’s spiritual feelings with bamboo stone landscape. At the lower left of the picture, there is an inscription by Yang Yuanxiang in Yuan Dynasty, followed by 26 inscriptions by Ye Kun, Qian Fu and other Yuan and Ming Dynasties, with more than 3,000 words.

　　Su Shi’s Xiaoxiang Bamboo Stone Map (Biography) in Northern Song Dynasty (partial)

　　In 1961, Deng Tuo bought it from Bai Jianfu with the money from Yanshan Nighttalk and the money from the sale of 24 ancient paintings in his hand, and wrote an inscription on Su Dongpo’s Xiaoxiang Bamboo Stone Scroll. In 1964, Deng Tuo donated it to China Art Museum. Like Su Shi’s "Wood and Stone Map" (biography) which appeared in the auction before, there has always been a debate about whether it is true or false.

　　Yuan Xian Yu Shu Shu Wang Anshi’s Poem Paper Handscroll is 50.25 cm in vertical direction and 1024.7 cm in horizontal direction. It is collected in Liaoning Provincial Museum.

　　Yuan Xian Yu-shu’s Poems of Wang Anshi, Wang Anshi’s Poems of Wang Anshi’s Poems of Wang Anshi’s Poems of Wang Anshi’s Poems of Wang Anshi’s Poems of Wang Anshi’s Poems of Wang Anshi’s Poems of Wang Anshi’s Poems of Wang Anshi’s Poems of Wang Anshi’s Poems of Wang Anshi’s Poems, Wang Anshi’s Poems of Wang Anshi’s Poems of Wang Anshi’s Poems of Wang Anshi’s Poems of Wang Anshi’s Poems Poems of Wang Anshi’s Poem’s This volume has rigorous font structure, full brushwork, refreshing and vigorous brushwork, natural brushwork and magnificent momentum. Jun Xi, the original Tibetan, later fell into Wu Cheng’s hands, entered the Confucianism in Xinghua House in the early Ming Dynasty, and entered the Inner House after the Qing Dynasty, which was recorded in Shiqu Baodi. Fresh in the pivot (1246— 1302), the word "Boji",no. Kun Xuemin, Yuyang, lives in Yangzhou. Official to Taichang Temple Canon Book. He is good at poetry and prose, fine appreciation, good at calligraphy, and is equally famous as Zhao Mengfu.

　　Chou Ying’s Map of Chibi (partial)

　　The Map of Chibi in Chou Ying in the Ming Dynasty is mainly composed of azurite and turquoise, which depicts Su Shi and his friends boating at night in Chibi. The layout of this picture is bright and bright, the brushwork is fine and dense, the color is elegant and beautiful, the technique is skillful and steady, and it is a masterpiece of Chou Ying. Chou Ying (about 1497— 1552), the real father, was born in Taicang, Jiangsu Province, and later moved to Suzhou. He is good at painting, especially a lady, and occasionally works as a flower and bird. He is also called "Ming Sijia" with Shen Zhou, Wen Zhiming and Tang Yin.

　　Feelings of Home and Country: Eight Masters’ Adherence to Humanistic Ideal in Tang and Song Dynasties

　　"Mencius" has a saying: "The foundation of the world is in the country, the foundation of the country is at home, and the foundation of the family is in the body." Home is the foundation and extension of the country. In the spiritual pedigree of China people, the country and family, society and individuals are inseparable whole. As an outstanding representative of the outstanding intellectuals in ancient China, "Eight Masters of Tang and Song Dynasties" have always shared weal and woe with the country and the nation in maintaining Confucian orthodoxy, adhering to the humanistic ideal of "self-cultivation, governing the country and leveling the world" and safeguarding national unity and national justice, and still moisten our spiritual home.

　　In the part of "Feelings for Home and Country", five units are used, namely, "Ming Dow as a writer", "Self-cultivation as a scholar", "Filial piety as a family", "Morality as a government" and "Worried about the world", which show the Southern Song Dynasty’s anonymous "Imitating the Classic of Filial Piety", the Southern Song Dynasty’s Zhu Xi’s cursive script and the manuscript of the University or the University, and the Southern Song Dynasty’s painting "The Picture of Zhou Songqing Temple" by Ma Hezhi.

　　An Anonymous Picture of Filial Piety in Southern Song Dynasty (partial)

　　Among them, the southern song dynasty’s anonymous painting "Imitating the Classic of Filial Piety" is based on the Confucian classic "The Classic of Filial Piety", which is divided into 18 chapters. The content mainly discusses feudal morality and promotes patriarchal ideology. This volume was recorded by Sun Chengze in Qing Dynasty, such as "The Story of the Boxer Selling Summer" and "The First Compilation of Shiqu Baodi". Sun Chengze and Shiqu Baodi both thought that Chu Suiliang’s book and Yan Liben’s painting were written by people in the Southern Song Dynasty. Judging from the taboo words, the words "Jing" and "Rang" are all short of pens, while the word "Shen" in Chapter 16 is short of pens to avoid taboo in Zhao Shen, South Song Xiaozong, and the word "Kuang" in Chapter 17 is also short of pens. It can be seen that this volume should have been written at the earliest in Xiaozong of the Southern Song Dynasty.

　　Zhao Gou’s book of Emperor Gaozong in the Southern Song Dynasty and Ma Hezhi’s painting "The Picture of the Temple of the Qing Dynasty in Zhou Song" are among the best volumes of Mao Shitu handed down from generation to generation, and the painting methods and image characteristics of its characters are basically the same as those of Tang Fengtu. Every section of the Emperor’s book is in front, and Ma Hezhi fills in the picture. Because most of the volumes are mainly about sacrificial activities and scenes, the author intends to highlight its solemn atmosphere. The collection in the Song and Yuan Dynasties is unknown. During the Yuan and Ming Dynasties, he entered Hongwu Neifu, and then returned to Zhu and Xiang Zijing for collection. After entering the Qing Dynasty, it was collected by Anqi and Liang Qingbiao, and then entered the Qing Dynasty. It has been recorded in Gu Fu’s Spectacular Life in Ming Dynasty, Wu Sheng’s Grand View Record in Qing Dynasty, and The Continuation of Shiqu Baodi.

　　In Southern Song Dynasty, Zhu Xi’s cursive script merged with the manuscript of University or Ask, which is composed of the handwritten note of Fu Yunfu’s Correction and the manuscript of the chapter of University or Ask Sincerity, has a quick stroke, echoes back and forth, and turns freely, with a little convergence of pen strokes and mixed with official meaning. Before the volume, there is an anonymous portrait, and after the volume, there are 11 inscriptions by Yuan Zhu Gongqian and Ming Wen Zhiming. Zhu Xi (1130— 1200), with the character Hui, was born in Wuyuan, Huizhou, and lived in Jianyang. In the eighteenth year of Shaoxing (1148), he was a scholar, and he was the founder and promoter of Neo-Confucianism in the Southern Song Dynasty. Calligraphy learned from Zhong You in his early years, and he was good at grass, especially fine print, and his style was calm and elegant.

　　Zhu Xi’s cursive script in the Southern Song Dynasty merged with the manuscript of university or question, and was collected in Liaoning Provincial Museum.

　　Zhu Xi Shu Han manuscript volume

　　In the Southern Song Dynasty, lin ma’s "The Summer Scene in the Hometown of Lotus" is one of lin ma’s masterpieces, which vividly reproduces the summer scenery of Hangzhou West Lake in the Southern Song Dynasty. The picture shows Liuan, Hengqiao and cruise ship, and the lotus flowers in the lake are fragrant and refreshing. Scholars walk on the bridge, boats and boats shuttle on the blue waves, waterfowl fly or swim, dynamic and static combine, and the scene blends. This picture is a sketch of Jingxi Lake, with harmonious scenery and panoramic views of lakes and mountains. After the volume, there is a postscript by Gao Shiqi of Qing Dynasty, which was recorded in Shiqu Baodi. Lin ma (the date of birth and death is unknown), a native of Qiantang (present-day Hangzhou), the son of Ma Yuan, one of the "Four Schools of Southern Song Dynasty", inherited his family’s studies in painting, and used his pen with great strength, but his style of painting was beautiful and embellished.

　　The Southern Song Dynasty lin ma’s "The Summer Map of the Hometown of Holland"

　　The Southern Song Dynasty lin ma’s "The Summer Map of the Hometown of Holland"

　　At the end hall of the exhibition, there is also a "sales area for cultural and creative products", which strives to keep the audience’s memories of the exhibition through colorful cultural and creative derivatives and a wide variety of exhibition publications. With the opening of the exhibition, academic lectures for the public, colorful social education activities, well-made exhibition catalogues and distinctive cultural and creative products will meet the audience one after another. At the same time, the "Eight Masters of Tang and Song Dynasties" cultural and creative competition will be held, and the "International Academic Seminar of Eight Masters of Tang and Song Dynasties" will be organized in the middle of the exhibition. The exhibition was co-sponsored by National Cultural Heritage Administration and the Propaganda Department of Liaoning Provincial Committee of the Communist Party of China, and was undertaken by Liaoning Provincial Department of Culture and Tourism (Liaoning Provincial Cultural Relics Bureau), Liaoning Provincial Cultural Performing Arts Group (Liaoning Provincial Public Cultural Service Center) and Liaoning Provincial Museum, with the assistance of China National Museum, China Art Museum, Shanghai Museum, Jiangxi Provincial Museum, Jilin Provincial Museum, Liaoning Provincial Library, Shenyang Palace Museum, Lushun Museum, Song Wenzhi Art Research Center and Liu Zongyuan Memorial Hall.

　　According to reports, this exhibition has been selected as the key promotion project of the theme exhibition "Promoting Excellent Traditional Culture and Cultivating Socialist Core Values" in National Cultural Heritage Administration in 2020.

　　The exhibition will last until March 2, 2021.

　　Exhibition site