| 摘要: | 十九世紀歐美收藏家對東方藝術的興趣大抵是陶瓷工藝品等，如果考慮繪畫的話，則以日本的屏風畫和浮世繪為重。自從1894 年12 月Ernest Fenollosa 在波士頓美術館展出44 幅來自日本大德寺的宋代羅漢畫之後，美國的收藏家開始將收藏的觸角伸向中國古畫，瞭解日本繪畫其實源自中國繪畫。1908 年Fenollosa 過世後，能夠承繼其地位，同時扮演學者、藝評家、收藏家和仲介者向美國收藏界介紹中國古畫，實為已長居中國二十餘年的美國傳教士、教育家、實業家、顧問，John C. Ferguson (中文名: 福開森，1902 年波士頓大學博士)。1910 年代經由Charles Freer 和J.P.Morgan 的引介，Ferguson 成為替紐約大都會博物館提供中國古代藝術品的收藏者和仲介者，為其早期中國畫的收藏打下基礎。不同於Fenollosa 在日本找尋中國古畫，Ferguson 的古畫來源是來自中國的收藏家，兩者在真偽鑒定和藝術品味上有所不同。1910 年代 Ferguson 在美國大力介紹中國古畫時，除了大都會博物館的收藏外，1916 年賓州大學博物館收購他的27 幅古畫，1918 年他受邀在芝加芝加哥美術館給系列演講等活動。本計畫將利用大都會博物館、賓大博物館、Smithsonian 博物館的檔案及當時重要報紙和期刊的文章重建Ferguson 對美國介紹中國古畫的內容、美國藝評家對其內容的反應和其與重要博物館的互動。 ; 19th-century American collectors of Oriental art were mostly interested in porcelain and other handicrafts; as far as painting was concerned, they preferred Japanese screen paintings and ukiyo-e. After Ernest Fenollosa, in December 1894, organized an exhibition in the Museum of Fine Arts, Boston of Song dynasty arhat paintings (44 hanging scrolls) in the collection of the Daitoku Temple, Japan, American collectors began taking an interest in traditional Chinese paintings, as they realized that the Japanese painting tradition originated in China. After Fenollosa’s death in 1908, John C. Ferguson (who had received a Ph.D. degree from Boston University in 1902 and had spent more than 20 years in China as a missionary, educator and consultant) was in a position to replace him as lecturer, critic, collector, and agent for Chinese painting. In 1910, through the recommendations of Charles Freer and J. P. Morgan, Ferguson became the collector and agent supplying traditional Chinese artworks to the Metropolitan Museum of Art, New York. Unlike Fenollosa, who had collected Chinese works in Japan, Ferguson obtained artworks from Chinese collectors, and there were also certain differences between the two in terms of taste and approach to authentication. Besides striving to introduce traditional Chinese painting to Americans and bringing artworks to the Metropolitan Museum, Ferguson also sold 27 paintings to the University of Pennsylvania University Museum in 1916, delivered a series of lectures at the Art Institute of Chicago in 1918, and so on. The proposed research project will use the archives of the Metropolitan Museum of Art, University of Pennsylvania University Museum, and Smithsonian Institution as well as articles printed in leading newspapers of the day to reconstruct the content of Ferguson’s discourse on Chinese painting, the responses of American critics, and the interaction between Ferguson and leading museums. ; 研究期間 9808 ~ 9907 |
