明代後期（1522-1644）書畫交易探析：以江南地區為中心; The Transaction of Calligraphy and Painting in the Area of Jiang Nan in the Late Ming Dynasty (1522-1644)

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Title:	明代後期（1522-1644）書畫交易探析：以江南地區為中心;The Transaction of Calligraphy and Painting in the Area of Jiang Nan in the Late Ming Dynasty (1522-1644)
Authors:	王琬婷;Wan-Tin Wang
Contributors:	歷史研究所
Keywords:	書畫交易;文人;晚明;書畫價格;Merchandise;Scholars;Ming Dynasty;Calligraphy and painting
Date:	2011-06-21
Issue Date:	2012-01-05 14:06:08 (UTC+8)
Abstract:	在明代後期商品經濟發展，以及奢靡之風的影響下，晚明書畫消費群體從士大夫階層擴展至武官、太監等政治權貴，也向下延伸到經商致富的商賈之家。一方面，書畫以關說、獻賄等形式，成為政治場域中權力網絡經營的重要媒介；另一方面，書畫成為富商大賈用以標榜文雅，晉身上流社會的象徵資本。這些「好事者」對於文人品賞文化的模仿，擴大了書畫交易市場，造成價格上漲。以至於魏晉隋唐的書畫高價厚值，超出一般文人士大夫的消費能力之外，重要的名家書畫多為權貴、富商之家所壟斷；為平衡商品的供應與消費者的需求，明代後期書畫市場的主要商品乃逐漸轉向明朝當代書畫。明代後期的書畫交易管道有二，其一為分布於北京、南京、杭州及蘇州等城市的定期性書畫市集以及常態性骨董舖、書畫肆。其二為貴賤貿遷的游賈販運。這些書畫商的出身背景複雜，有些是基層文人棄儒求賈，有些是來自徽州或江南地區世業骨董的商業家，也有少部份是僧人或市井庶民。他們對於書畫交易的經營手法或態度或有不同，但大致上不脫賤收貴賣，賺取差價利潤；以及提供潤筆，求索當時具有聲名的文士手筆，再予轉賣。晚明書畫市場的蓬勃發展，導致許多書畫商賈進行各種詐偽手法例如以今搨本作古本、真跋裝偽本或偽作名款等，因為厚利的吸引而風行一時。由於明代後期輕商傳統漸弱，以及山人游客文化風行的影響下，有更多的基層文人選擇販賣文藝，以潤筆酬謝維生；或者乾脆棄儒從賈，經營書畫交易以逐末利。不論前者或後者，皆以山人、徵士、隱者的姿態，透過拜訪、書畫酬酢、文藝雅集等頻繁的社交活動，進行文藝的販賣或商品的交易，與士大夫們維持密切的交往。他們介於士紳與畫師、商賈的身份，使得書畫交易創作與經營者的角色更為複雜；而即使在朝的士大夫，也都會基於「時易新玩」的流通考量，出售自己的藏品。這些趨利與世俗化的普遍情況，乃使得晚明社會所謂雅與俗的界限更為模糊。 Under the influences of the merchandise economic development and the vanity trend of the society, the late Ming Dynasty consumer groups of calligraphy and painting expanded from scholar-bureaucarats to military officers or eunuches; meanwhile, the merchants who ran successful business had also become part of the consumer groups. On the one hand, in order to lobby or to bribe, the calligraphies and paintings were seen as an important intermedium in the political network management. On the other hand, for rich merchants, the calligraphies and paintings became a symbolic capital used to mark their exquisiteness. These merchants, military officers or eunuches who imitated the culture of scholars did expand the market of calligraphies and paintings, which caused the price increase of works of art of Dynasty of Wei, Jin, Sui and Tang. In order to balance the supply and need of the art market, the mainstream merchandise of art in the late Ming Dynasty thus was gradually turned to focus on contemporary works of art of Ming Dynasty. There are two main ways of merchandise of calligraphies and paintings in the late Ming Dynasty. One was based on the periodical art fairs, regularly-set antique shops, or calligraphy and painting shops, which were located in the cities of Beijing, Nanjing, Hangzhou, or Suzhou. The other way was based on the merchandise trading between businessmen who travelled from places to placed trying to collect and buy goods with low price and to sell goods with high price. These businessmen of calligraphy and painting consisted of a wide range of backgrounds. Some were scholars who failed in the imperial examinations. Some were professional antique dealers coming from Huizhou and Jiang Nan. Due to the huge profit, many of these businessmen even acted fraud. In the late Ming Dynasty, more and more scholars made their living by earning royalties or even turned themselves into businessmen to run their own art business. No matter they chose either way to earn a living, the scholars always took the stance of hermits who got into art dealing business through frequent social activities such as joining artist gathering or art fairs which made these scholars keep a close connection with scholar-bureaucrats in power. Their multiple social identities also made the role of art creating and dealing more complicated. In result, the difference of tastes between elites and common people became more and more unobvious because of this phenomenon of profit-making and art-popularizing.
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