本文選題：中國 + 美術(shù)　； 參考：《中國藝術(shù)研究院》2000年博士論文

【摘要】：中國美術(shù)鑒藏史是中國美術(shù)史學(xué)科的分支。 所謂“美術(shù)鑒藏”，乃是由賞、鑒、藏以及流通四大要素整合一體的，一種歷史悠久的社 會(huì)化活動(dòng)。鑒是前提，，藏為手段，流通乃屬中介環(huán)節(jié)。賞，才是根本目的，也是藏品之所以 產(chǎn)生精神價(jià)值和物質(zhì)價(jià)值的基礎(chǔ)。 賞，是審美和藝術(shù)批評(píng)所著力研究的基本內(nèi)容。 鑒，涉及考古、鑒定以及相關(guān)的科技檢測手段。 藏，是目錄學(xué)、博物館學(xué)以及文物保存、修復(fù)工作的主要對(duì)象。 流通，固然是商業(yè)和市場行為。而它又與不同歷史時(shí)期的體制和經(jīng)濟(jì)氛圍緊緊連在一起。 這就是說，我們所探究的美術(shù)鑒藏史，需要涉及不同歷史段落的美術(shù)創(chuàng)作、藝術(shù)品評(píng)、 科技和工藝方法、工商業(yè)狀況，更不必說考古歷史和具體的鑒定手段了。從藝術(shù)和社會(huì)，生 產(chǎn)與消費(fèi)的角度考察，美術(shù)鑒藏活動(dòng)在接受和消費(fèi)一端。它至少處于歷史、工商業(yè)史、考古 學(xué)、藝術(shù)批評(píng)史和美術(shù)創(chuàng)作史這五種學(xué)科的交叉地帶。以上，是本文從學(xué)理角度對(duì)中國美術(shù) 鑒藏史提出的初步構(gòu)想。 從來沒有純屬私人化的鑒藏活動(dòng)。即便專斷如帝王，宮廷珍藏也會(huì)與佞臣共賞。民間藏 家、文士的雅集和唱酬往還，實(shí)際上都遵從一個(gè)約定俗成的私人度藏、賞鑒共享的游戲通則。 判斷一件藏品是否珍貴，大體不出經(jīng)濟(jì)價(jià)值、精神意義和歷史文物意義三種尺度。美術(shù)鑒藏 是一種社會(huì)化活動(dòng)，藏品之價(jià)值往往因?yàn)椤翱赏豢杉啊辈胚M(jìn)一步得以凸顯。也因?yàn)槿绱耍?歷史上便有了以戰(zhàn)爭，以買賣，以交換，以巧取豪奪方式而求擁有珍稀藏品之種種典故。中 國的美術(shù)鑒藏，向來推宮廷藏品為大宗。唐宋以降，私家所收也日漸普遍了。一般而言，天 下之珍菩草皇室。但，血與火之中一再演繹朝祚更迭的歷史劇，宮廷藏品大聚大毀也成為例 行格式。部分藏品散落于私人手里，富可敵國有時(shí)并不全是誰言大話�；适宜睾退郊宜� 彼起此伏，成了歷史賡續(xù)和名品聚散的兩大渠道。這，也就是中國美術(shù)鑒藏的基本歷史框架。 本文試圖以描述、敘述而非論述為主的方式，對(duì)中國幾千年來美術(shù)鑒藏的發(fā)生、發(fā)展、 延宕遷變之歷史脈絡(luò)，作一盡可能全面和準(zhǔn)確的勾勒。在行文中，就最早的藝術(shù)收藏家是誰， 第一次有記載的藝術(shù)品買賣在何時(shí)，最早的書畫贗品出現(xiàn)在哪里，南宋和元內(nèi)府的藏品是否 豐贍，以及關(guān)于《考工記》的解讀等等，都在(?)集前賢之說, 爬疏典章文獻(xiàn)和偏霸雜史的基 礎(chǔ)上，嘗試提出了與目前學(xué)界不同的見解。由于本文架構(gòu)尚無前例可援，力所未逮及窳陋粗 疏在所難免，巫望識(shí)者有以匡正。 這一論題是由業(yè)師陳綴祥研究員銓選，承三年來敦促指導(dǎo)，更蒙故宮博物院副院長揚(yáng)新 先生及諸多學(xué)界師長惠教，方勉力得以蕆事，理當(dāng)于茲說明并致謝忱。 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
【學(xué)位授予單位】：中國藝術(shù)研究院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2000
【分類號(hào)】：J120.9

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 徐翎;;《藝林》雜志綜述[J];美術(shù)觀察;2009年07期

相關(guān)博士學(xué)位論文 前5條

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相關(guān)碩士學(xué)位論文 前8條

1 孫曉松;清中期書畫收藏?zé)岢毖芯縖D];遼寧師范大學(xué);2010年

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7 郭彪;劉九庵古書畫鑒定研究[D];浙江大學(xué);2009年

8 梅松松;晚清（1840-1911）文人鑒藏活動(dòng)研究[D];首都師范大學(xué);2012年

本文編號(hào)：1981491