文征明书画鉴藏活动研究

【作者】 唐勇刚；

【导师】 薛永年；

【作者基本信息】 中央美术学院 ， 中国美术史， 2014， 博士

【摘要】 本论文是关于中国书画鉴藏史的个案研究，选取的研究对象是明代吴门画派的领袖人物文征明。结合历史学和文献学的方法，本论文力图尽可能地还原关于文征明的书画鉴藏活动，包括他参与的鉴藏诸事和他主导的鉴藏行为，通过对这些鉴藏活动的解读，了解文征明本人的鉴藏方法、鉴藏观念、鉴藏趣味，并将之放置在鉴藏史的整体范畴，讨论他的鉴藏活动所具有的特性和意义，并藉此管窥明代中期苏州乃至江南地域书画鉴藏的共性。文征明是中国绘画史上倍受推崇的大师，同时也是伟大的书法家、诗人、明代著名的文人。与此同时，文征明也是鉴藏史上著名的鉴赏家，他的鉴赏水平不光受到同时期收藏家们的认可，也受到其后各个时期的收藏家们广泛地赞誉。虽然文征明生前并未撰写过关于个人的收藏著录，但是他留存下来一定数量的书画题跋、题画诗，以及其撰写的许多包含与同时代文人、收藏家们往来的诗词、记、行状、墓志铭等等。我们通过对这些材料的梳理和解读，可以部分地呈现其当时的鉴藏活动。文征明之所以能够成为眼力不凡的书画鉴赏家，有其历史的必然性，他生长在鉴藏风气盛行的明代苏州地区，他的老师沈周、吴宽、李应祯，长辈王鏊、史鉴，好友都穆、唐寅、祝允明等，都是负有鉴赏家名气之人，文征明在成长的过程当中，对于书画鉴藏耳濡目染，鉴藏既是他学习书画创作时的需要，也逐渐成为他的爱好、学问和一种生活方式。在文征明接过沈周的衣钵成为吴门的领袖之后，他也愈发地笃好书画鉴藏，并与当时的许多收藏家如华云、华夏、何良俊、项元汴等频繁地互动与往来，发挥着他的影响。中国古代书画鉴藏史中，可以称之为鉴藏家的不在少数，以他们的身份来区分，有统治者身份的鉴藏家、有文人官员身份的鉴藏家、有画家身份的鉴藏家、有美术史家身份的鉴藏家，甚至也包括商人身份的鉴藏家……。文征明这样的书画鉴藏家，具有文人画家身份的意味，这种类型的鉴藏家，如宋元以来的苏轼、米芾、赵孟頫等，文征明具有一定的代表性。在文征明的鉴藏活动中，表现出他文人的一面，即更重视“寓目”而非占有，重视书画鉴藏活动所带来的精神愉悦，而非物质财富的炫耀。在文征明的晚年，他提出“真赏”的观点，明确了书画鉴藏的意义所在。从对于文征明书画鉴藏活动的研究中，我们既可以总结作为文人画家身份的鉴藏家其书画鉴藏的特点和观念，也可以将文征明视之为明代苏州文人收藏家中最具有代表性的一员，了解到其时代性特征。以上，正是本论文通过对文征明书画鉴藏活动的研究，想要达到对于书画鉴藏史整体研究的微不足道的补充。更多还原

【Abstract】 This paper presents a case study of connoisseurship and collection history of Chinese painting and calligraphy, and the selected research object is Wen Zhengming, a leader of Wu School of Painting in the Ming Dynasty. Combining history and philology methods together, this paper seeks to restore the connoisseurship and collection activities of Wen Zhengming’s painting and calligraphy as much as possible, including the connoisseurship and collection affairs he has participated in and theconnoisseurship and collection behaviors he has led. Through the interpretation of these connoisseurship and collection affairs, the author understands the methods, concepts and interests of Wen Zhengming’s connoisseurship and collection. Putting them in the whole category of connoisseurship and collection history, the author also discusses the characteristics and significance of Wen’s connoisseurship and collection activities. Based on these, the author has a glimpse of the generalities of the painting and calligraphy connoisseurship and collection in Suzhou and Jiangnan region in the Mid‐Ming Dynasty.Wen Zhengming is a highly respected master in the history of Chinese painting, as well as a great and renowned calligrapher, poet and scholar in the Ming Dynasty. In the meantime, Wen is also a famous connoisseur in theconnoisseurship and collection history. His appreciation level was not only recognized by the collectors in the same period, but also widely praised by later generations of collectors. Although Wen did not author any collection records in his lifetime, he left behind a lot of paintings, calligraphy inscriptions and poems on paintings, as well as a sea of poetry, records, brief biographical sketches of deceased persons and epitaphs for exchanges with scholars and collectors in the same period. Through the carding and interpretation of these materials, the connoisseurship and collection activities in that era can be partly presented. The reason why Wen became an extraordinary painting and calligraphy connoisseur was historically inevitable. He was born in the Suzhou region in the Ming Dynasty where the connoisseurship and collection atmosphere prevailed. His teachers Shen Zhou, Wu Kuan and Li Yingzhen, his elders Wang Ao and Shi Jian, his friends Du Mu, Tang Yin and Zhu Yunming were all renowned connoisseurs. In the process of his growth, Wen Zhengming was constantly influenced by what he saw and heard from painting and calligraphy connoisseurship and collection, which was not only a necessity for him to study painting and calligraphy creation, but also gradually became his hobby, learning and a way of life. After Wen took over the mantle of Shen Zhou and became the leader of Wu School of Painting, he became more and more interested in painting and calligraphy connoisseurship and collection and frequently interacted with many connoisseurs at that time, such as Hua Yun, Hua Xia, He Liangjun and Xian Yuanbian, exerting his influence.In the connoisseurship and collection history of ancient Chinese painting and calligraphy, the scholars who could be called as connoisseurs were in great numbers. In terms of their identities, they were not only connoisseurs, but also rulers, literati scholars, painters, art historians or even merchants. Painting and calligraphy connoisseurs and collectors like Wen were also literati scholars and painters, and Su Shi, Mi Fu and Zhao Mengfu all belonged to this category while Wen was a representative one. Wen’s connoisseurship and collection activities showed his literary side, namely, valuing appreciation rather than occupancy, and paying attention to the spiritual delight brought by painting and calligraphyconnoisseurship and collection activities rather than showing‐off of material wealth. In his late times, Wen put forward the view of "true appreciation", which specified the significance of painting and calligraphyconnoisseurship and collection. According to the studies of Wen’s painting and calligraphyconnoisseurship and collection activities, we can not only summarize the painting and calligraphyconnoisseurship and collection characteristics and concepts of connoisseurs with the identities of literati scholars and painters, but also regard Wen as one of the most representative literati collectors in Suzhou in the Ming Dynasty to learn about the features of the times. The above contents are the contributions made by the author to the whole studies of painting and calligraphy connoisseurship and collection history through the case study of Wen’s painting and calligraphy connoisseurship and collection activities.更多还原