“倒棺材”：王鉴《仿赵文敏潇湘白云图》传承始末

‘Dumping The Coffin’:An Ownership History of Wang Jian’s ‘White Clouds over Xiao-Xiang, after Zhao Mengfu’

佛利尔美术馆藏有一幅王鉴(1609-1677)的《仿赵文敏潇湘白云图》(藏品编号F1956.27)立轴。多年来,一些学者对其真实性持保留意见。尽管他们暂时还无法提出坚实的证据,但他们的意见基本是源于立轴本身的笔墨风格。作为佛利尔美术馆第一篇关于此画的学术研究文章,文本将着重讨论其传承历史以及它与当时绘画风格的关联。这幅钤有乾隆和嘉庆印章的作品,约于1916年左右流出紫禁城。在1932至1933年间,该画成了一场强买强卖的主角,繁衍出了副本,副本的题跋极具暗示性,而后又衍生出了副本的副本,进而引出藏家的诡诈,暴露出转移到上海后的作伪、割出原装画作后重裱等众多事件。除了经手和仿制这幅画作的人以外,在十六年中至少还有七位收藏家和鉴赏家拥有或仔细地鉴定过这幅作品,却没有一位留下过自己的鉴藏或私人印鉴。这幅画在1933和1938年分别在上海和伦敦被印刷出版,然后于1948-1949年左右离开故土并辗转各地多年。1956年由佛利尔美术馆购得,于1958年重新装裱。作者主要讲述了作品的流传始末,关于此画的其他争议将另行撰文。

The Freer Gallery of Art owns a hanging scroll by Wang Jian (1609–1677) with the title ‘White Clouds over Xiao-Xiang, after Zhao Mengfu’(Fǎng Zhàowénmǐn Xiāoxiāng Báiyún Tú)(No. F1956.27). Some scholars have expressed reservations concerning its authenticity for years even though they were often unable to articulate exactly why, their objections were always based in part on the overall appearance of the painting. Representing the first research conducted on the painting since its acquisition, this paper will focus primarily on its ownership history and how that may relate to the current appearance of the painting. Bearing seals of the Qianlong and Jiaqing emperors, the painting probably left the imperial collection around 1916. Between that time and 1932-33, the painting ‘White Clouds over Xiao-Xiang, after Zhao Mengfu’(Fǎng Zhàowénmǐn Xiāoxiāng Báiyún Tú)(No. F1956.27) was the subject of a forced trade, a close copy, a revelatory inscription on the copy, a copy of the copy, the swindle of a Beijing collector, transfer to Shanghai, a forgery of the painting, a removal from its former mounting, and a remounting. In addition to those who handled and copied the painting and those who made the forgery, during these sixteen years at least seven major collectors and connoisseurs owned or viewed the painting in detail, none of whom impressed collector or authentication seals on the work itself. Published in Shanghai in 1933 and in London in 1938, the painting left its homeland around 1948-49 and spent some years traveling. The Freer Gallery of Art purchased the painting in 1956 and remounted it again in 1958. The paper focuses on the ownership history of the painting. Further controversial issues concerning the painting are reserved for other papers.