明式家具收藏研究

Abstract

明式家具一向被譽為中國家具的巔峰之作，是珍貴的天然材質與傳統木作工藝的完美結合，它最具代表性的特徵是經由典雅流暢的線條，表現出簡約優美的造形，其風格獨具的藝術美感在國際上不但享有盛譽，亦廣受東西方藏家喜愛。 本文研究對象限定為王世襄所定狹義的明式家具，經由彙整公開發表的明式家具藏品之學術研究專書、收藏圖錄、期刊與網站資訊，統計現存藏品的數量、種類與材質比例，做為分析博物館與私人收藏比例與分佈概況的依據。 第二章由中國古代家具的源起與發展，追溯明式家具產生的時代背景，展現其所處之相關位置與環境；並經由認識明式家具之種類與形式、使用材質與結構、線條與紋飾的特色，理解明代文人的喜好與審美標準對於明式家具設計與製作的影響，再更進一步，從西方藝術觀點來闡釋明式家具的美感特質。 第三章從中外文獻梳理出明式家具如何由中國日常生活實用器物，發展為中外認同之文物藏品的歷程；同時綜覽中國與歐美各主要博物館的明式家具收藏，瞭解明式家具所獲得的重視以及經典藏品之收藏歷史與特色。 第四章將觀察東西知名藏家的分佈與重要藏品、藏家的收藏重點與個別看法，進而藉由筆者的明式家具收藏經驗與收藏市場的長期觀察，分析明式家具的收藏意義，整理出收藏要點與策略。 第五章歸納明式家具之歷史文化意義與藝術價值，也藉由明式家具收藏的意義與收藏現況探究其未來發展。

Ming furniture has been known as the pinnacle of the classic Chinese furniture’s evolution, constructed with a perfect combination of precious natural materials and traditional wooden craft. Ming furniture’s most distinguished characteristic is its portrayal of simplistic and elegant style through classic and flowing lines. The unique aesthetics that Ming furniture exhibits is not only internationally renowned, but also celebrated by Eastern and Western collectors alike. The research and analysis of this study focuses exclusively onMing furniture as defined by the acclaimed scholar Wang Shixiang. Through examining various published work regarding Ming furniture, including scholarly books, collection catalogs, periodicals, and websites, this study compiles and indicates the number, type and materials of existing Ming furniture collection in the world. The study also uses this compilation as the basis for analyzing the distribution of Ming furniture among museums and private collectors. Chapter Two of this study explores the background and context under which Ming furniture was born and established as a unique style of furniture by surveying the origins and evolution of classic Chinese furniture. This chapter also observes the different types of and forms, lines, structures, ornaments, and materials used in Ming furniture to better understand the aesthetics and standards for artistic appreciation of the elite society during Ming Dynasty, and in turn, how the elites’ aesthetics influenced the design and making of Ming furniture. Furthermore, this chapter also aims to explain the aesthetics of Ming furniture through a Western Art lens. Based on both Chinese and foreign publications, Chapter Three explains the process through which Ming furniture has become historical relics worthy of collecting during the latter half of the 20th century. This Chapter also presents the current Ming furniture collections of various renowned museums around the world to shed light on the artistic significance Ming furniture enjoys today, as well as the history and distinguished features of the classic collection of Ming furniture. Chapter Four surveys the distribution, key collection and considerations of various renowned Western and Eastern Ming furniture collectors. The author also discusses her personal Ming furniture collecting experiences and long-term observation of the collecting market in order to supply a synthesis of key considerations and strategies for the collecting of Ming furniture. Chapter Five concludes the study with a summary of the significance and value behind collecting Ming furniture, as well as the development and trends for the Ming furniture collecting market.