新国学网:木心美术馆新展“古波斯诗抄本”7月28日揭幕_古波斯诗抄本-诗抄本-中亚-抄本-诗抄-伯德

展览名称：古波斯诗抄本展览时间：2018年7月28日-11月28日展览地点：木心美术馆，B1F特展厅

展览名称：古波斯诗抄本展览时间：2018年7月28日-11月28日展览地点：木心美术馆，B1F特展厅1主办机构：木心美术馆借展方：牛津大学伯德利图书馆媒体支持：申通德高

　　过去三年，本馆先后推出几位木心所推崇的欧洲思想家文学家手稿。今年，五份配有细密画的古波斯诗抄本，来到乌镇。

《信士的念珠》抄本诗作者：贾米“为情所困的老汉从女士阳台纵身一跃”1570-80年From a manuscript of Jami, Subhat al-Abrar (Rosary of the Pious).An old man distracted by love throws himself down from a lady's balcony.c. 1570–80The Bodleian Libraries, University of Oxford, MS. Ouseley Add. 23, fol. 72r

　　木心说，中国与波斯是伟大的诗国，开花太早，成熟太早。我们有理由悬想：七十多年前，就在乌镇东栅的茅盾书屋，少年孙璞正在阅读民国时期译介的波斯诗。晚年，木心在《文学回忆录》中热情讲述了古波斯诗人。

　　迄自十三世纪的波斯诗稿本，全部手抄，配有精美绝伦的细密画。那时，中亚细密画的手法与中国明代套色版画遥相接洽，日后，欧洲文艺复兴手绘圣经稿本及其插图，也受到中亚细密画的濡染和影响。

《列王纪》抄本，单页诗作者：菲尔多西“菲尔多西和来自加兹尼的诗人”1430年Leaf form a disbound manuscript of Firdausi, Shahnama.Firdausi and the poets of Ghazna.c. 1430The Bodleian Libraries, University of Oxford, MS. Ouseley Add. 176, fol. 15r

《列王纪》抄本，单页诗作者：菲尔多西“塔米娜去鲁斯坦的卧房”1430年Leaf from a disbound manuscript of Firdausi, Shahnama.Tahmina comes to Rustan’s bed chamber.c. 1430The Bodleian Libraries, University of Oxford, MS. Ouseley Add. 176, fol. 82r

　　今天，瞩目于古波斯诗作的中国诗人，可能寥若晨星，波斯细密画则从未来到中国展示。作为亚洲人，我们对中亚文学艺术的兴趣和了解，太有限了。现在，我们在木心的故乡得以一窥古波斯诗抄本与细密画的珍贵原貌。

　　感谢牛津大学伯德利图书馆竭诚襄助。

　　木心美术馆

《优素福和祖莱哈》抄本诗作者：贾米“’祖莱哈’的女仆被’优素福’的俊美迷倒了”1569年From a manuscript of Jami, Yusuf and Zulaykha.Zulaykha’s maids overcome by the beauty of Yusuf.c. 1569The Bodleian Libraries, University of Oxford, MS. Greaves 1, fols. 103v-104r

《巴哈雷斯坦》诗作者：贾米“歌女和年轻人”1595年Leaf from a disbound manuscript of Jami, Baharistan.The youth and the singing-girl.c. 1595The Bodleian Libraries, University of Oxford, MS. Elliott 254, fol. 35v

展品封面

　　Exhibition Title: Persian Poem Manuscripts

　　Duration: July 28 to November 28, 2018

　　Venue: Mu Xin Art Museum, B1F, No.1 Temporary Gallery

　　Organizer: Mu Xin Art Museum

　　Exhibition Lender: Bodleian Libraries, Oxford University

　　Media Support: STDecaux

　　Over the last three years, the Mu Xin Art Museum has exhibited the manuscripts of several European thinkers and writers whom Mu Xin admired. This year, five Persian poem manuscripts complete with miniature paintings are coming to Wuzhen.

　　Mu Xin said that China and Persia were great nations for poetry, which flowered and matured too early. We can imagine, more than seventy years ago, the young Sun Pu reading a Republican-era translation of Persian poetry in Mao Dun’s studio in the East  District of Wuzhen. In his later years, he wrote enthusiastically about ancient Persian poets in his Literary Memoir.

　　The Persian poetry manuscripts from the thirteenth century were painted entirely by hand and paired with exquisite miniature paintings. It is evident that there was some contact between Central Asian miniature paintings and Ming-dynasty colored prints. Subsequently, Renaissance Europeans painted Bible manuscripts with illustrations, which were also influenced by Central Asian miniatures.

　　Today, Chinese poets interested in ancient Persian poetry may be few and far between, and Persian miniature painting has never been exhibited in China. As Asian people, our interest in and understanding of Central Asian literature and art is limited. Now, we have the opportunity to see precious original Persian poetry manuscripts and miniature paintings in Mu Xin’s hometown.

　　Finally, we would like to thank the Bodleian Libraries at Oxford University for their enthusiastic assistance.

　　Mu Xin Art Museum

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