“四王”研究的范式转移

Paradigm Shift for The Study of The ‘Four Wangs’

艺术史现代学术化的一段进程,可以清初“四王”研究为焦点。二十世纪初期在“疑古主义”史学转型影响下,清代画史被第一代学者归为“沉滞”时期,论述有所局限。然而二十世纪三十年代在“四王”作品的公开传布中,出现了与画史论述之低迷状态完全相反的蓬勃情势,利用珂罗版印刷技术的图版流传以及公、私收藏的公开展览,可谓“四王”现代研究的两方基石,影响力扩及日本,在内藤湖南、滋精一等人的推动下,逐渐形塑出与日本过往仰赖“古渡”文物颇为不同的中国画史理解。而在欧美的中国艺术史研究中,风格分析有其不可忽视的意义与成果,方闻的“趋古”除了展现风格分析的典范转移外,尚针对“复古”这个古典命题赋予现代新解的意义。近三十年,脉络研究成为“四王”研究之新径,配合新出文献资料,提供了有意义的深入论述。本文侧重于研究范式的更迭,兼及作品和相关画史文献资料的公布状况,此一方面是“四王”的研究史回顾,也是中国绘画史学史的“现代”历程。

The study of early Qing artists ‘Four Wangs’ should be taken as a focus concerning the process of modern academicization of art history. Under the influence of the historiographical transformation arising from the trend of ‘Doubting Antiquity’ in the early 20th century, the first generation of scholars categorized the painting of the Qing dynasty to the period of ‘Stagnation’, which was of limited discussion. However, the flourishing circulation of the ‘Four Wangs’’ works in the 1930s proved to be a complete contrast to the relatively scant scholarly attention to the Qing painting history. The spread of images produced using collotype printing and the public exhibition of national and private collections at that time laid a foundation for modern research on the ‘Four Wangs’. The influence of these activities even extended to Japan. Headed by Naitō Konan and Seiichi Taki, art historians in Japan broke away from their previous reliance on “Kowatari” cultural artifacts and gradually developed a new understanding of Chinese painting history that differed from the past. In the West, stylistic analysis is an integral part of the study of Chinese art history and has yielded significant achievements. The seminal book co-edited by Prof. Wen Fong, In Pursuit of Antiquity (Qū Gǔ), not only illustrates the paradigm shift of stylistic analysis but also offers a modern interpretation of the classical proposition of ‘antiquity’. In the past 30 years, contextual research has become a new methodology for the study of the ‘Four Wangs’. With the newly discovered archives, it enabled meaningful and in-depth scholarly discussion and exposition. This study centers on the paradigm shift of Chinese painting history and the publication of related paintings and archives. It presents a literature review of research on the ‘Four Wangs’ and unveils the process of “modernization” in the historiography of Chinese painting.