中国美术鉴藏史纲

发布时间：2018-06-05 09:21

本文选题：中国 + 美术　；参考：《中国艺术研究院》2000年博士论文

【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
[Abstract]:The history of Chinese art collection is a branch of Chinese art history.
The so-called "art collection" is a combination of four major elements of appreciation, learning, storage and circulation. A socialized activity with a long history is a prerequisite. As a means, circulation is an intermediary. It is the fundamental purpose and the basis of the spiritual and material value of the collection.
Appreciation is the basic content of aesthetic and artistic criticism.
It involves archaeology, identification and related scientific and technological means.
Tibet is the main object of bibliography, Museology and preservation of cultural relics.
Circulation, of course, is business and market behavior, and it is closely linked to the institutional and economic climate of different historical periods.
That is to say, the history of art collection we explore requires art creation, artistic evaluation, science and technology and technology, industry and commerce, not to mention archaeological history and specific means of identification. It moves at the end of acceptance and consumption. It is at least in the intersection of history, industrial and commercial history, archaeology, the history of art criticism and the history of art creation. The above is the preliminary idea of the history of Chinese art collection from the academic point of view.
There is never a purely private collection activity. Even if the monopoly is like the emperor, the palace treasures will be rewarding with the courtier. There are three scales of economic value, spiritual meaning and historical relic significance. Art collection is a kind of socialized activity. The value of the collection is often further highlighted because "can't be expected". There is a variety of allusions with rare collections. Chinese art collection has always been a large number of palace collections. In the Tang and Song Dynasties, the private collection is becoming more common. Generally speaking, the royal family of the treasure of the world is the royal family of Bodhisattva. However, the historical play of the throne is repeated in the blood and fire, and the great destruction of the palace collection is also an example. Part of the collection is scattered in the private hands, and the rich and the enemy are sometimes not all the big words. The Royal Collection and private possession have become the two main channels of historical continuance and the accumulation of names. This is the basic historical framework of Chinese art collection.
This article attempts to describe, describe, and not be the main way to describe the occurrence, development, and the historical vein of art collection in China for thousands of years. In this article, who is the earliest art collector and where the first recorded art and art are sold At the time, where the earliest calligraphy and painting fakes appeared, whether the collections of the Southern Song and the yuan mansion were abundant, and the interpretation of the "Kao Gong Ji", all of them tried to put forward different views from the current academic circles on the basis of the former scholars, and on the basis of the previous scholars. The precedent can be helped, and the force is uncollected and rough.
This topic was selected by Chen Zhuixiang, a researcher of the professional teacher. He had been urged for three years, and he was also encouraged by Mr. Yang Xin, the deputy director of the the Imperial Palace Museum, and the teachers of the academic circles.
Liang Jiang
June, two
【学位授予单位】：中国艺术研究院
【学位级别】：博士
【学位授予年份】：2000
【分类号】：J120.9

【引证文献】