吴湖帆书画鉴藏二题:摹古与鉴识

Imitating the Past and Connoisseurship: Wu Hufan's Connoisseurship of Painting and Calligraphy

吴湖帆先生(1894-1968)为二十世纪中国的代表画家之一。父母两系、姻亲潘家,都以书画收藏扬名于世,加以个人增益,上世纪的三四十年代,他的沪上居寓几成为江南书画鉴识的"沙龙"。身处中国画变革的时代,"变"当然是一时之盛。"新信息"的来临对20世纪中国书画的影响,已异于往昔,追索宋元的画意,成了中国绘画界的现象之一,开启了另一种新"摹古"风,这可从吴湖帆作品的摹古风画历来印证。吴湖帆曾三次担任故宫博物院书画展览审查委员,得览故宫博物院书画。《吴湖帆文稿》中可以读出他对当年所见的故宫名画的鉴识意见,如对燕文贵、江参、谢时臣,都有先见之明,以今日的更多资料比对,也给吾人以讨论的余地。吴湖帆1938年获藏黄公望《剩山图》前一年,指出《富春山居图》"子明卷"为伪,可见其高明处。

Wu Hufan （1894-1968） was one of the representative Chinese painters of the 20th century. Families of his parents and his wife were famous for collections of painting and calligraphy. He himself also added to these collections. During the 1930s-40s, Wu＇s residence in Shanghai became a ＂salon＂ for connoisseurship of Chinese painting and calligraphy. Living in a time of remarkable changes in Chinese painting, ＂change＂ was the mainstream idea. ＂New information＂ had a great impact on 20th-century Chinese painting and calligraphy. Tracing the meaning and spirit of works of the Song and Yuan dynasties started a new fashion that stressed the ＂imitation＂ of the past styles, which can be testified in some of Wu＇s works. As a member of the Exhibition Review Committee of the Palace Museum for three terms, he had plenty opportunities to view works from the museum collection. In Manuscripts of Wu Hufan, he expresses professional opinions of the works by artists such as Yan Wengui, Jiang Shen and Xie Shichen. The year before he acquired The Remaining Mountain in 1938, he even wisely pointed out that Dwelling in the Fuchun Mountains （Ziming version） was a forgery.