【作者】 梁江；

【导师】 陈绶祥；

【作者基本信息】 中国艺术研究院 ， 美术学， 2000， 博士

【摘要】 中国美术鉴藏史是中国美术史学科的分支。所谓“美术鉴藏”，乃是由赏、鉴、藏以及流通四大要素整合一体的，一种历史悠久的社 会化活动。鉴是前提，藏为手段，流通乃属中介环节。赏，才是根本目的，也是藏品之所以 产生精神价值和物质价值的基础。赏，是审美和艺术批评所着力研究的基本内容。鉴，涉及考古、鉴定以及相关的科技检测手段。藏，是目录学、博物馆学以及文物保存、修复工作的主要对象。流通，固然是商业和市场行为。而它又与不同历史时期的体制和经济氛围紧紧连在一起。这就是说，我们所探究的美术鉴藏史，需要涉及不同历史段落的美术创作、艺术品评、 科技和工艺方法、工商业状况，更不必说考古历史和具体的鉴定手段了。从艺术和社会，生 产与消费的角度考察，美术鉴藏活动在接受和消费一端。它至少处于历史、工商业史、考古 学、艺术批评史和美术创作史这五种学科的交叉地带。以上，是本文从学理角度对中国美术 鉴藏史提出的初步构想。从来没有纯属私人化的鉴藏活动。即便专断如帝王，宫廷珍藏也会与佞臣共赏。民间藏 家、文士的雅集和唱酬往还，实际上都遵从一个约定俗成的私人度藏、赏鉴共享的游戏通则。 判断一件藏品是否珍贵，大体不出经济价值、精神意义和历史文物意义三种尺度。美术鉴藏 是一种社会化活动，藏品之价值往往因为“可望不可及”才进一步得以凸显。也因为如此， 历史上便有了以战争，以买卖，以交换，以巧取豪夺方式而求拥有珍稀藏品之种种典故。中 国的美术鉴藏，向来推宫廷藏品为大宗。唐宋以降，私家所收也日渐普遍了。一般而言，天 下之珍菩草皇室。但，血与火之中一再演绎朝祚更迭的历史剧，宫廷藏品大聚大毁也成为例 行格式。部分藏品散落于私人手里，富可敌国有时并不全是谁言大话。皇室所藏和私家所藏 彼起此伏，成了历史赓续和名品聚散的两大渠道。这，也就是中国美术鉴藏的基本历史框架。本文试图以描述、叙述而非论述为主的方式，对中国几千年来美术鉴藏的发生、发展、 延宕迁变之历史脉络，作一尽可能全面和准确的勾勒。在行文中，就最早的艺术收藏家是谁， 第一次有记载的艺术品买卖在何时，最早的书画赝品出现在哪里，南宋和元内府的藏品是否 丰赡，以及关于《考工记》的解读等等，都在(?)集前贤之说, 爬疏典章文献和偏霸杂史的基 础上，尝试提出了与目前学界不同的见解。由于本文架构尚无前例可援，力所未逮及窳陋粗 疏在所难免，巫望识者有以匡正。这一论题是由业师陈缀祥研究员铨选，承三年来敦促指导，更蒙故宫博物院副院长扬新 先生及诸多学界师长惠教，方勉力得以蒇事，理当于兹说明并致谢忱。梁 江二○○○年六月更多还原

【Abstract】 The history of the Chinese art apprechation and collection is a part of historiography of the Chinese fine artS.The appreciation and collection of art works is a socilized activity including four main factors,i.e. appreciation, appraisal, collection and Circulation . The appreciation is a prerequisite. The collection is a means. The circulation is an intermediate link. The appreciation is not only a purpose but aslo a foundation that an art piece prouduces various values.The appreciation belongs to the category of aesthetics, artistic criticism and research.The appraisal combines archaeology distinguishing, and science and technology method.The collection sphere includes bibliography, museology and cultural relics.The circulation is a commercial and market activity conncting with history and economy.The history of collecting art works concerns art creation, comment, sclence andtechology, production, commence, archaeology, history and appraisal method. If we study from the sme of production and consuming, art appreciation and collection certainlly taks the posinon of consumers. The subject is on the cross section of five courses, i.e. history industrial and commercial history, archaeology at criticism history and fine arts history.Judging whether an art work is valuable, there are frequently three shandards that are economic value, spiritual meaning and cultural relic value. People occupied art works through War, business, exchange, and fraulent way in the past. Most of art works were collected in the imperial palaces. After the Tang and Song Dynasties, mang at treasures were fallen into private collectors because of changes of dynasties. From then on, individual and imperial collects sometimes were well metched and both of them became two main forms to possess art works.In this way the Chinese art works are scattered and asssembled now and then. This is a basic history structure to appreciate and collect the Chinese art works.I try to use narration instead of exposition to totally eaplanin origin and develpment of collection and appreciation of the Chinese art works for thousands of years as possible as I can.In this dissertation, there are some new views that I give firs time. Nobody has discussed on this problem before. I think that it must have deficiencies.The dissertation is instructed by Prot. Chen Shouxiang. I make a gratefulacknowledgement for him.Liang JiangJune, 2000更多还原