端方藏畫研究──以《壬寅消夏錄》所載六朝至宋代畫作為核心;A Study on Duan Fang′s Painting Collection

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題名:	端方藏畫研究──以《壬寅消夏錄》所載六朝至宋代畫作為核心;A Study on Duan Fang′s Painting Collection
作者:	石雅萍;Shih, Ya-Ping
貢獻者:	藝術學研究所
關鍵詞:	端方;二十世紀初;《壬寅消夏錄》;晚清鑒賞觀;古畫收藏;Duan Fang;painting collection;the early twenty Century;Jen-yin Xiao- Xia Lu;connoisseurship
日期:	2019-08-26
上傳時間:	2019-09-03 17:03:54 (UTC+8)
出版者:	國立中央大學
摘要:	端方（1861-1911）為活躍於十九世紀末至二十世紀初的中國官員、收藏家。他的收藏規模龐大，涉及青銅、書畫、碑石、古玉、磚瓦等多種品項。1910 年前後，正逢國際間對於中國美術興趣增加，端方以其特殊的政治、外交經歷，在中國、海外均有相當高的辨識度，他也成為外國人士最早能夠接觸到的重要中國藏家之一。　　過去關於端方收藏的研究主要聚焦於金石類。實際上，端方收藏古書畫的數量超過千件以上，並留下一未刊行的收藏著錄書稿《壬寅消夏錄》。而現有的文章，僅論及少數幾件作品，討論範圍也侷限於畫作或畫家的資料介紹。本研究即欲透過目前已知晚清著錄、日記、題跋資料，釐清端方藏畫的活動狀況。並且分析收錄於《壬寅消夏錄》的部分畫作，以呈現一些端方的收藏特點和晚清鑒賞觀。　第一章說明藏家生平及其收藏活動，並探討端方如何在短時間內搜羅大量書畫、該時代有哪一些收藏來源。在 1901 年以前，端方主要於北京一帶活動，此時已與一些富有金石、書畫收藏的學者、藏家往來。約於 1901 年至 1911 年間端方開始積極地收藏書畫，在1901 年赴湖北任職巡撫以後，透過周邊的幕友、學者，如繆荃孫、李葆恂等人的協助，端方快速地匯聚了大量的書畫。世紀之交於市上流通的作品，包含部分同治、光緒朝藏家舊藏，及部分流落民間的清內府收藏，均匯集至端方手中。　　第二章介紹三種在二十世紀初整理或刊行、並刊載了端方藏畫的出版品。其中，四十卷之書畫著錄《壬寅消夏錄》，纂於 1907 至1909 年間。藏家主導了著錄的內容，晚清學者繆荃孫則負責編輯的工作，全書收錄了至少三百四十四件六朝至清代中期的書法、繪畫作品，是目前所知有關端方藏畫較為詳備的資料。從端方《壬寅消夏錄》著錄的編寫情況，以及收錄的作品，顯示其收藏與清代中、後期之藏家具有一定的關聯。而分析在 1908 年前後出版之兩種中、日的美術刊物《中國名畫集》、《國華》，可以發現中國畫家將端方藏畫視為學習對象，日本學者則透過端方收藏的宋畫理解到中、日兩地收藏的差異。　第三與第四章選擇以《壬寅消夏錄》所載傳為「六朝」至「宋代」部分畫作，來對端方的收藏情況進行探索。除了著錄的記載，文中也對二十世紀初外國學者和藏家報導、購買端方藏畫的情況作了一些說明。過去僅指出端方收藏有重要畫蹟，經過檢驗可以發現，藏家將傳顧愷之《洛神圖卷》、傳董源《寒林重汀圖軸》、傳郭熙《谿山秋霽圖卷》等名作，與一批在今日看來頗有問題之作，一同收於《壬寅消夏錄》。由此可見，端方實際的藏畫內容，應較目前所知複雜許多。十九末、二十世紀初人的關注焦點，與今日美術史的認識，亦是有相當的差距。;Duan Fang (1861-1911) was a government official, notable collector in the late Qing dynasty. His collection includes bronzes, steles, rubbings, calligraphies, paintings, jades, and pottery. In the first decade of the twentieth century, Duan Fang was politically and diplomatically active and gained broad recognition in China, Japan and the West. He was one of the most attractive collectors for foreign scholars and collectors in his time. 　　Up to now, Duan Fang’s painting collection is not thoroughly studied. Most papers related to Duan Fang’s collection focused more on the bronzes, steles and their rubbings, while only limited attention has been paid to his painting collection. The collector also left an unpublished catalogue Ren-yin Xiao-Xia Lu which is essential to our understanding to his painting collection. The primary questions of this thesis are: How Duan Fang established his painting collection? And, what are the features of Duan Fang’s collection? The first chapter explores the career and the main collecting activities of Duan Fang. Duan Fang enjoyed his early days before 1901 in Peking and had close association with the collector-connoisseurs and scholars there. After 1901, he held the post of the governor of Hubei province. With the help of scholars and officials close to him, Duan Fang assembled a large number of paintings and calligraphies during 1901 to 1911. The works he collected were partially from the former collectors of Tongzhi (1861-1874) and Guangxu (1875-1908) reigns, and partially from the Qing imperial collection. 　In the Second chapter three publications related to Duan Fang’s painting collection in the early twentieth century China and Japan are discussed. The first is the unpublished catalogue Ren yin xiao xia Lu which was edited by the Qing scholar Miu Quan-sun (1844-1919) during the period 1907 to 1909. By examining the chapters and content in Ren yin xiao xia Lu, we comprehend that it was edited with a traditional manner. And at least 344 pieces of calligraphies and paintings in Duan Fang’s collection were recorded. In addition to the literal content in traditional catalogue, some pictorial records of Duan Fang’s painting collection in the other two journals Specimens of Old Chinese Pictorial Art (Zhong guo ming hua ji) and Kokka are analyzed. 　　The third and fourth chapters focus on several paintings attributed to the Six dynasty (220-589) to the Northern Song dynasty (960-1127) in Ren-yin Xiao-Xia Lu. The discussions cover the editors’ comments on works, related reports and purchasing details on Duan Fang’s collection. The result show that questionable paintings and masterpieces were all recorded in the catalogue. In summary, Duan Fang’s painting collection is far more complicate then we used to acknowledge.
顯示於類別:	[藝術學研究所 ] 博碩士論文

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