明晚期到清代的「集古」觀念與收藏之研究–以《唐宋元名畫大觀》為基礎

Abstract

集古冊是一種將歷代畫作編輯成冊的一種收藏方式，收藏者也可從編輯過程達到自我理念的傳遞。一本集古冊的影響力不僅止於收藏者之間，也可能因觀賞者的角度有所不同，產生不同的影響。 在明代時期，因為時人有著對古物的喜愛熱潮，進而促成樂於搜羅、編輯集古冊的風氣，如此的風氣也一直持續影響至清代。《唐宋元名畫大觀冊》（簡稱《大觀冊》）原名《宋元寶繪》，由董其昌在晚明時期編輯而成，耗費四十餘年收集、編排此冊。這本《大觀冊》自董其昌編輯而成之際，即頗富盛名，多次在文獻中被紀錄而下。其流傳經歷自晚明至清代時，期間易手過數次，且《大觀冊》均帶給不同的收藏家有著不同的影響與經歷。 隨著時間的流轉，藝術界對於集古冊的看法與使用方式也隨之變動。如此轉變的過程，影響著集古冊的宿命與被重視程度。藉由《大觀冊》易手且歷經收藏者編輯的過程，正可一觀集古冊自明代盛行至清代之後沒落的經過。

The jigu ce (fine arts album) is a form of art collection with which collectors collect rare artworks while demonstrating their tastes and connoisseurship. A jigu ce generates influence beyond the collector that created them because they can invoke different viewers' responses taking different perspectives of appreciation. During the Ming Dynasty, the love for antiquities among the literate members of society became a trending hobby, along with the practice of curating jigu ce that lasted down to the Qing Dynasty. The Tang Song Yuan Minghua Daguan Ce ("The Tang-Song-Yuan Famous Paintings Album," hereon Daguan Ce) was initially named Song Yuan Baohui when it was first completed under the curatorship of Dong Qichang during the late Ming Dynasty. The compilation and editorial process took over forty years and were of considerable renown, with multiple citations found in the literature. Following its transmission from the late Ming to the Qing Dynasty, with multiple changing of hands, this work has inspired the collectors who engaged with it and unique experiences. The fine arts circle also changed its opinion on the jigu ce and how to engage such a genre as time pass. The changes in opinion are now affecting the future conservation and emphasis of the fine art albums. By examining the transmission routes and participants and the curatorial process invested in the Daguan Ce, this paper provides a historical perspective on the rise and fall of the jigu ce from the Ming Dynasty to the Qing.