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題 名 | 乾隆的書法鑑賞=Emperor Ch'ien-lung's Connoisseurship of Calligraphy |
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作 者 | 何傳馨; | 書刊名 | 故宮學術季刊 |
卷 期 | 21:1 民92.秋 |
頁 次 | 頁31-63+215 |
專 輯 | 「十八世紀的中國與世界」學術研討會專刊(1) |
分類號 | 942 |
關鍵詞 | 乾隆; 書法鑑賞; 王羲之; 顏真卿; 蘇軾; 米芾; Ch'ien-lung; Calligraphy connoisseurship; Wang Hsi-chih; Yen Chen-ch'ing; Su Shih; Mi Fu; |
語 文 | 中文(Chinese) |
中文摘要 | 乾隆自幼愛好書法,雖然自稱是政務之暇的餘事,不過在實際的書法活動中,卻表現出專業書家的態度。乾隆另一個值得注意的非業餘態度的表現,是對內府所藏古代書蹟的鑑賞。本文列舉了十九件現今傳世,經乾隆鑑賞的書蹟,依其題識內容的性質分為三類,第一類是論王義之書蹟。第二類是傳統的文人書法觀。第三類是對於古書蹟的鑑別。後一類尤其近於明清時期書法鑑賞的方法與範圍。 乾隆對於古代書蹟的「學術式的鑑賞作風」早在1748年的題識中已出現,比他對繪畫的鑑賞能力成熟得平。他的書法活動實際上是結合了收藏、鑑別、臨摹及書寫詩文題記等幾種方式,各活動彼此相關,而以鑑別為基礎。此外明代中葉以來所建立的書法鑑賞文化,包括文字著錄、題跋考據、摹刻法帖、真偽考訂等,在乾隆時延續不斷,這種情形在乾隆之後的清代諸帝就難以為繼了。 |
英文摘要 | Even as a child, Ch’ien-lung was a great fan of calligraphy. Although he termed it extraneous to the affairs of government, in actual practice, he nonetheless displayed the attitude of calligraphic expert. Another way in which he revealed a professional attitude was in his connoisseurship of the historic calligraphic works in the imperial collection. This paper examines nineteen surviving works which Ch’ienlung inspected and wrote comments upon. Ch’ien-lung’s inscriptions on these works can be divided into the following three categories: discussions of Wang Hsi-chih’s writings, expressions of traditional 1iterati attitudes toward calligraphy, and comments on authenticity. In the last category, he demonstrates an approach similar in scope and methods to typical Ming-Ch’ing era calligraphy connoisseurship. Ch’ien-lung’s “academic style” connoisseurship of early calligraphy can be observed in colophons dating to as early as 1748, which demonstrate a professional maturity not seen in his discussions of painting until somewhat later. His involvement with calligraphy can be seen as the combination of a variety of activities which included collecting, authenticating, copying, and the writing of inscriptions. For Ch’ien-lung, these activities were mutually interrelated and had as their foundation his interest in authentification. The culture of calligraphic connoisseurship established in the mid-Ming dynasty--writing catalog-like records of individual works, adding connoisseurial comments in the form of colophons, writing and carving “calligraphic models” (fa-tieh), and critically examining authenticity-continued under the reign of Ch’ien-lung. He presided over its last heyday, for it seems that this distinctive culture went into decline after his time on the throne. |
本系統中英文摘要資訊取自各篇刊載內容。