明清之際書畫鑑藏家對時代風格的影響
程君顒
慈濟技術學院護理系
摘 要
為了瞭解中國書畫發展的進程，許多學者不僅提出繪畫理論與技巧變化的看法，使後世研究者可以憑藉文字的敘述瞭解已經消失的書畫風格面貌，以進行收藏，且提出收藏的原則與方法。唐人張彥遠將鑑藏者的審美層次分成兩大類，一為真正的賞鑑家，另一種是「好事者」。鑑賞也有幾種類別，王耀庭將「賞」與「鑑」分開，「賞」即欣賞，自有其審美理論，而「鑑」則包含了「鑑識」與「評鑑」兩方面；「鑑識」（interpretative criticism）是對作品的分析，包含真偽的辨識、結構的分析、內涵的解釋、創作的理念等，「評鑑」（evaluative criticism）則是對藝術品的價值與優劣加以評判。也可以說，鑑識是一種內在的分析，評鑑則是主觀的判斷。
藝術品鑑藏的「行為」（action）雖然在中國已經有上千年的歷史，但真正將之商品化且普及化的年代，最早只能追溯到宋代。也由於宋代民間開始了鑑藏的風氣，商人見有利可圖，於是開始了作偽造假。由於書畫鑑別缺乏出土地點的記載，因此傳世品多是孤立的流傳，鑑別書畫真偽的工作就成了學者研究的項目。其實，只要知道作偽者的時代，對於瞭解風格流派也會有相當大的幫助。王公貴族以及士大夫將對於古董字畫的收藏，視為清雅高尚的休閒活動，也是建立人脈關係的政治活動。
日本學者古原宏伸認為，明代畫傳畫評類圖書之刊行大多在嘉靖以後，尤其是集中在萬曆到崇禎期間。鑑賞家撰寫與書畫史相關的文字，同時也因個人的學養，對於風格展開分析，終致出現書畫派別之說。隨著對於某些書畫的偏愛或憎惡，藝術市場上的價格也產生了劇烈的差異，偽作於是在此間有利可圖。
最後，本文自社會學、經濟學、藝術史學以及鑑賞家個人進行分析，鑑賞家可說是維繫古代書畫文物的重要推手，而明清時代的鑑賞家更是凝聚藝術風格共識的重要關鍵，也可以說，目前書畫史上所產生的種種宗派與專有名詞，皆源自這些鑑賞家，完整的搜羅並研讀鑑賞家對於古代書畫的鑑定結果，當更能明瞭中國藝術史的發展，以及時代背景下的種種變化。
關鍵字：書畫、鑑賞、鑑藏家、偽作、明清、風格、畫派
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The Influence of the Connoisseurs on the Art Style in Ming&Ching
Cheng Jun-Yung
Department of Nursing Tzu Chi College of Technology
Abstract
In order to understand the development of Chinese brushworks and paintings, many scholars propose not only the theories and skills of art to describe the style for the descendants, but also raise the principles and methods for collecting antiques. Chang Yen-yüan analyzed the steps of estheticism into two parts, the real connoisseur and the meddler. There are several types on appraisal, according to Wang Yào-ting separated to interpretative criticism which is the analysis of art, on the appraisal of real or imitated, structure, the explanation of content, and evaluative criticism which is the value judgment. Interpretative criticism is the intrinsic analysis; evaluative criticism is the subjective judgment.
The action of antiques appraisal has been in practice over thousand years, but changed the art works to merchandise until Sung dynasty. From that time, the customs of collecting antiques began. For profit, merchants began to falsify art works. Because of the lack of the art record, appraisal resume the works of professional scholars. In fact, if we could know when the artist made the imitation, we could also get the clue about the manner of schools. The nobility and literati have regarded the action of appraisal antiques, brushworks and paintings as leisure activity and political connection to build up their person relationship.
The connoisseurs wrote the history of brushworks and paintings, but they were biased about style analyzing at the same time, so that the course of art schools emerged. The price of works began a dramatic change on art market. The imitations were items in this market and got a great deal of profit on it.
This paper analyzes the connoisseurs during Ming-Ch’ing period from the views of sociology, ecology, history of art and the connoisseurs themselves Connoisseurs could be regarded as the most important support to maintain the preservation of ancient works, the connoisseurs are the most important key to concentrating the nouns of art styles in the period of Ming-Ch’ing. We could say that the proper nouns of painting history all come from those connoisseurs. If we continue to collect and read the appraisal record, we should get more information about Chinese art history and the changes in each dynasty.
Keywords：brushwork-paintings、appraisal、connoisseur、imitation、Ming-Ch’ing、style、art schools