宋徽宗画作鉴藏研究

【作者】 王健；

【导师】 薛永年；

【作者基本信息】 中央美术学院 ， 文化遗产， 2014， 博士

【摘要】 在宋代美术史研究中，宋徽宗赵佶是一个难以回避的人物。相对于没有名款的大量两宋佚名作品，有不少归在徽宗名下的存世画作可资探讨。这些归在徽宗名下的画作题材广泛，面貌多样，风格技法也不完全统一。花鸟画中，既有体现精细工丽的写实风格，又有体现“文人”好尚的水墨风格。精细工丽的写实风格中有与崔白“体制清赡，作用疏通”画法风格相近的画作，也有和南宋“院体”花鸟画风格相近的小景花鸟画。水墨风格中，既有画史、诗文集中常被提及与“士人画”相关的“汀竹水鸟”、“溪凫芦雁”、“墨花墨禽”等题材，又有被后世所称道的体现文人士大夫抒发心性的小写意画作。这些画作有的反映了北宋末画坛多元的技法风格，有的则反映了后世的审美好尚和鉴藏家对作品归属的判断。本文从归在徽宗名下的存世画作出发，由对徽宗名下花鸟画鉴定论断的检讨作为切入点，对历代美术史、著录中与徽宗个人风格有关的记述，作品的收藏与流传予以梳理，探讨在收藏流传过程中，鉴赏家对有关徽宗画作鉴藏知识的获得与传播。从作品的流传与著录的记载，考察历代鉴赏家的言论怎样影响了现代学者对画作真伪的辨识与认知，“御画”与“御题画”，“供御画”与“代笔”的解读与阐释。最后从徽宗的影响考察伪作与作伪，进而讨论画作在流传过程中，作为符号的“徽宗”对精英与大众收藏及后世追法徽宗的画家的创作实践的影响等微妙而复杂的互动关系。更多还原

【Abstract】 In the research of Song Dynasty, Songhuizong (Zhaoji) is a person who can not beavoided. In relation to lots of unnamedworks of North Song and South Song, many workssigned with Songhuizong can be discussed with them. In the bird-and-flower ink painting,there are some elaberate realistic paintings as well as ink-scholar paintings. In the realisticink paintings, there are paintings which have the relationship with the style of Cuibai, andthere are some paintings similar to the microlandscape of bird-and-flower painting ofimperal-court decorative painting. In ink-scholar style, there are some subject aboutstream, bamboo,water and bird; brook, wild duck, australis and wild goose; ink flowerand ink bird; as well as small freehand brushwork, which are named by the offspring, toexpress the feeling. These ink paintings reflect the different kinds of painting stlyes in theend of North Song, as well as the aesthetic of offsprings and the judgement of theconnoisseur.In the begining of this paper, from talking about the eixsted paintings under the name ofSonghuizong and the criticism of judgment about the paintings named of Songhuizong asthe entry point, it arrange the record of Songhuizong in art history; collection and spreadof his works; the obtain and spread of the knowledge about the appreciation of his works;the influence of connoisseur to the modern scholar about how to recognize and interpreatethe “emperial painting”and“emperial-sign-painting”,“scrivenir painting” and “true andfalse”. In the end of this paper, it investigates the false-painting and the making falsepainting; talking about the influence of Songhuiong to the elite, public; the influence ofthe practice and the relationship with them.更多还原