【作者】 马邦乐；

【导师】 卢辅圣；

【作者基本信息】 中国美术学院 ， 美术史， 2011， 博士

【摘要】 本文以北宋时期(960-1127)宫廷与私人书画收藏为研究对象,旨在探究在这一社会转型期中书画鉴藏对于北宋文化的意义。首先将书画鉴赏置于皇家政治文化的脉络之中考虑,提出书画是于北宋“祖宗家法”中动态累积的体现,经历了从宋太宗(939-997)创立的开放的秘阁制度与御书文化,宋真宗(969-1022)时期的祥瑞图画,最终宋徽宗(1082-1135)结合御书与祥瑞图画而缔造了御画,为中国皇家文化确立这种最高的御笔绘画的形式,向朝臣宣传。而另一方面私人收藏也在影响皇家收藏的趣味。宋代城市的繁荣刺激了各个阶层对书画的消费,尤其在京城上至公卿,下至富商皆有书画收藏,首先引起了书画趣味的转变。同时,北宋科举真正实现了选拔寒门子弟入仕为官,形成了集官僚、文学家为一身的文人士大夫阶层,他们在十一世纪中期开始主导了书画鉴赏的趣味。而南北文化的交流与江南经济的崛起刺激了对南方绘画特别是山水画的爱好。古器物学的兴起与文人对书画的普遍爱好致使书画不再作为小道而是作为文化的重要组成部分被接受。更多还原

【Abstract】 This doctoral dissertation focuses on imperial and private collections of works of calligraphy and painting in Northern Song period (960-1127), probing into the meaning of these collections to Northern Song in this transforming time. Through considering works of calligraphy and painting in the background of imperial political culture, the paper brings out that these art forms are the embodiment of the dynamic accumulation in Northern Song’s "Ancestor Rules". They went through the open "bi ge" (secret cabinet) system and "yushu" (emperor’s hand writing) culture started by Emperor Song Taizong and "xiangrui"(auspicious omens) paintings under the reign of Song Emperor Zhenzong. Finally, Hui zong Emperor created "yuhua" (emperor’s painting) with the combination of "yushu" and "xiangrui" painting, establishing this noblest artistic form in royal culture and presenting it before his courtiers.Private collections also influenced the taste of imperial collections. The prosperity of Song cities stimulated the consumption of paintings and calligraphy works, especially in the capital city, where high officials as well as the wealthy merchants could boast of their calligraphy and painting collections, contributing to the shift of the taste. At the same time, "keju" (imperial examination system) in Northern Song actually made it possible for the lowborn to get official posts. As a result, a class of scholar-officials came into being. In mid-eleventh century, this class began to play a leading role in calligraphy and painting connoisseurship. At the same time, communication between the South and the North and the growth of the economy of Jiangnan area encouraged a preference to paintings in "southern" style, especially landscape paintings. Due to the rise of antiquarianism and literati’s interest, calligraphy and painting, which used to be unimportant entertainments, became accepted as an essential part of Chinese culture.更多还原