虚斋与佛利尔的中国画收藏——基于图录与画名的N-gram藏品分析

A N-gram Data Analysis of the Chinese Masterpieces Collection of Pang Yuanji and Charles Lang Freer by Catalogue and Theme

本文以庞元济(虚斋)所著《虚斋名画录》(1909)、《虚斋名画续录》(1925)、巴拿马博览会中英对照著录《中华历代名画记》(1915)及定制图录《唐五代宋元名画》(1916)为考察对象,并结合佛利尔美术馆1915年和1916年的购藏档案、佛利尔与虚斋的往来书信等,尝试用藏品画名的N-gram数据分析法,对虚斋的藏品结构和佛利尔的中国画收藏品味进行数据剖析,并揭示出以佛利尔为代表的西方收藏界对中国书画审美品位的建立。

Pang Yuanji(1864-1949), styled himself Laichen, known by his literary name of Xuzhai, is a renowned collector of traditional Chinese painting and calligraphy. The analysis based on the historical literature including Pang’s publications, his correspondence with Charles Lang Freer, the archives of Freer Gallery’s collection and acquisition 1915-1916 and other documents intends to insight into the way Charles Lang Freer was influenced by Xuzhai to get to appreciate and collect Chinese painting and calligraphy and formed his own taste for Chinese fine arts that finally developed as the ‘Classic’ aesthetic paradigm of Chinese painting for the western collectors.