التفاصيل البيبلوغرافية
| العنوان: |
乾坤清賞— 關於王世貞宋畫鑑藏二三事及其鑑藏章. (Chinese) |
| Alternate Title: |
Pure Enjoyments of Heaven and Earth: A Few Matters on Wang Shizhen’s Connoisseurship of Song Dynasty Painting and His Collection Seals. (English) |
| المؤلفون: |
許文美 |
| المصدر: |
National Palace Museum Research Quarterly; 2024, Vol. 41 Issue 3, p59-121, 63p |
| مصطلحات موضوعية: |
ANCIENT art, SONG dynasty, China, 960-1279, LANDSCAPE painting, ART museums, SCHOOL administrators, CALLIGRAPHY, ART collecting |
| Abstract (English): |
Wang Shizhen (1526-1590) was a culturati with great literary talent and cultivation in history. As a patron of the arts in the Suzhou area, he took part in leading painting and calligraphy circles. In Wang’s large corpus of writings done over his lifetime, many deal with painting history, the old masters, and works of painting and calligraphy that he had seen or collected. In the connoisseurship of ancient art, he especially admired Song dynasty painting. The present essay deals with three surviving examples of Song landscape painting (“Snowy Landscape with Rustic Riverside Retreat” traditionally attributed to Gao Keming and in the Metropolitan Museum of Art, Guo Xi’s “Old Trees, Level Distance” also in the Metropolitan Museum of Art, and Ma Yuan’s “Water” in the Beijing Palace Museum) to discuss two forms of writing on artworks seen by Wang Shizhen, the leader of the revivalist school of the Later Seven Masters: poetry and colophons. His writings on artworks discuss painting theory and the influence of previous collectors, fusing the perspective of these collectors with his own point of view. As for Southern Song landscape album leaf paintings circulating at the time, Wang departed from the deprecatory commentary of “fragmentary mountains, leftover waters” to emphasize them, also praising Song dynasty bird-and-flower album leaf paintings as ingenious wonders of sketching from life. In addition to revering Song dynasty painting, Wang Shizhen also paid attention to the importance of the Song imperial family in collecting history, upon which he formed his own personal use of collection seals. An investigation and analysis of Wang’s collection seals on extant works of painting and calligraphy reveal their contents to be derived from those used at the courts of the Song emperors Huizong and Gaozong. For example, the connected, red-character seal for “Zhen” and “Yuan” was based on the second character in his name “Shizhen” and the first character in his style name “Yuanmei.” This seal, mainly impressed at the front on the work itself, also cleverly suggests the idea of “Creation works sublime success, furthering through perseverance” in “Heaven Diagram (Qiangua).” Below this seal would be one of three rectangular red-character seals suggesting the names of the “Three Elegances of Jue Vessels (Sanya zhi jue)”: “Boya,” “Zhongya,” and “Jiya.” The seal “Pure Enjoyments of Heaven and Earth (Qiankun qingshang)” in white characters involves Wang comparing his personal collecting of art to that of the emperors in the past. “Seal of the Library of Master Wang of the Ming (You Ming Wangshi tushu zhi yin)” in white characters derives, for example, from the “Seal of the Inner Court Library (Neifu tushu zhi yin),” one of the “Seven Seals of Xuanhe (Xuanhe qixi)” used at Emperor Huizong’s court. In addition, Wang Shizhen early in the Wanli reign continued to impress two seals with nine-bend seal script at the end of works in his collection--“Seal of the Court of Imperial Stables (Taipusi yin) and “Official Seal of the Posts for Grand Coordinator and Concurrent Superintendent of Military Affairs in Yuyang (Fuzhi Yuyang dengchu guanfang),” which were done in the stylistic effect of the “Seal of the Inner Court Library” seal. This set of collection seals reveals the witty side of Wang Shizhen’s personality and his yearning to retire in reclusion, it also having deep personal meaning and indicative of the period in which he lived [ABSTRACT FROM AUTHOR] |
| Abstract (Chinese): |
王世貞（1526-1590）為深具文學, 史學素養的文化人, 贊助吳中藝苑, 參與 引領書畫創作. 他一生著作豐富, 涉及不少關於畫史, 名家, 以及收藏和寓目書畫 的文字, 在鑑藏古書畫方面崇尚宋畫. 本文以存世高克明〈溪山雪意圖〉（大都會 博物館藏）, 郭熙〈樹色平遠圖〉（大都會博物館藏）, 馬遠〈水圖〉（北京故宮博 物院藏）等宋代山水畫為例, 論述復古派後七子領袖王世貞, 鑑賞寓目時主要以詩 歌, 畫跋兩類文體題寫. 題寫內容受畫論和前輩鑑賞家影響, 融合前人鑑賞視角發 展個人見解. 對於當時流傳的南宋山水冊頁, 他跳脫「殘山剩水]觀點加以關注, 並盛讚宋代花鳥冊頁巧奪天工的寫生特質. 崇尚宋畫之外, 王世貞亦重視宋代皇室在鑑藏史的重要性, 從而形成個人獨特 的鑑藏章樣式. 從具有王世貞鑑賞章的存世書畫考察歸納, 王世貞收藏印記學習轉 化自宋徽宗, 宋高宗內府書畫收藏印記.[貞元]朱文連珠印由名「世貞], 字「元 美]各取一字組成, 主要蓋在作品本幅起首位置, 並巧妙蘊藏「元亨利貞]之「乾 卦]意涵. 下方可搭配「三雅之爵]涵義之「伯雅],[仲雅],[季雅]三方朱文長 方印其中之一.[乾坤清賞]白文印相應比擬個人鑑藏境界猶如帝王般賞鑑世界. [有明王氏圖書之印]白文印取法「宣和七璽]之「內府圖書之印]印文, 萬曆初 年王世貞並續刻鈐蓋於作品拖尾的「太僕寺印],[撫治鄖陽等處關防]兩方九疊篆 印, 仿效「內府圖書之印]印風視覺效果. 這套鑑藏章蘊含王世貞諧謔的個性, 以 及對於退隱的嚮往, 深具個人意涵及時代特色. [ABSTRACT FROM AUTHOR] |
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