作者： 洪再新
机构： 美国普吉海湾大学艺术系 [美国]
中文关键词： 乾隆;;皇家名分;;溥仪;;张园;;伪满皇宫;;《羲之观鹅图》
英文关键词： Wang Xizhi guan e tu (Wang Xizhi Observing Geese); collectors' seals; collectors' inscriptions;the Qing palace into the puppet Manchukuo period; the credentials of the emperor.
中文摘要： 清宫的书画收藏是中国封建社会后期文化史的重要组成部分,为考察艺术与社会的关系提供了一个特殊的窗口。大量珍贵的前代书画作品从民间进入清代宫廷,并在乾隆朝形成鼎盛局面。成为宋徽宗以来又一个皇家艺术收藏的高峰。这不仅是封建集权制度的产物,同时也是满汉文化融合的结果。自清王朝覆亡至满洲国出笼,逊帝溥仪及其小朝廷在北京、天津及长春的一系列复辟和称帝活动中从未放弃对清宫旧藏的关注与重视,将之作为象征皇家名分的主要标志之一。本文以1746年到1940年代元代钱选《羲之观鹅图》(现藏美国纽约大都会美术馆)的收藏过程为脉络,通过考察画卷上诸多收藏印鉴和题跋来认识清宫绘画收藏的兴衰转折及其历史意义。在近200年的皇家收藏史中,特别是在清皇室20世纪所经历的变故中,这一画卷成为不可多得的历史见证。其奇特的收藏始末,深刻地向世人揭示了中国和世界政治、经济及文化史中的一段精彩画面。
英文摘要： Palace painting collections are important components in delineating the cultural history of the laterperiod of Chinese feudal society, and they serve as a window for studying the relationship between art andsociety. Large numbers of valuable paintings from earlier dynasties entered the Qing palace collections fromcitizens' collections and during the flourishing high-point of the Qianlong Emperor's reign, royal art collectionsattained a new peak only previously attained by the collections of Emperor Huizong of the Song dynasty. Thiswas not simply the product of the feudal authoritarian system, but was also a result of Manchu-Hanacculturation. From the time of the collapse of the Qing court and its revival as the puppet Manchukuo rulinghouse under Aisin-Gioro Puyi and his small court located in Beijing, Tianjin and Changchun, the post-Qingemperor continued to perpetuate the traditional regard and veneration for the Qing palace art collections andthese became some of the signifiers of royal authority. This paper traces the vicissitudes in the Qing royalcollection from 1746 to 1940 of the Yuan dynasty scroll painting by Qian Xuan titled Wang Xizhi guan e tu(Wang Xizhi Observing Geese), now in the collection of the Metropolitan Museum in New York, by examiningthe collectors' seals and inscriptions on the work. The fortunes of this work explain the rise, decline andhistorical significance of the Qing painting collections. No painting better exemplifies the last two centuriesof the history of the imperial collections, especially during the dramatic changes of the 20th century. The fateof these collections clearly demonstrates the history of China's political, economic and cultural interaction withthe world over the last two hundred years.
[中文刊名]： 故宫博物院院刊[出版日期]： 2004-05-30[CN]： 11-1202/G2[ISSN]： 0452-7402
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