从《簪花仕女图》的鉴别争议到艺术作品的视点更新

From the Dispute over the Identification of Beautiful Ladies Wearing Flowers to the Renewal of the Perspective of Works of Art

《簪花仕女图》的著录鉴藏在南宋以前及元明段的时代空白,为后世的鉴别带来许多疑点与争议。自1958年谢稚柳对作品年代提出异议起,学术界关于这一议题的争论至今不息。综合回视六十余年来关于此作的议论,新证据的提出带来新的视点,既更新认知又挖掘了作品内涵,而中国古代优秀画作的底蕴与生命力常需要这种更新作为“引子”才能得以展现。

There exist no extant records regarding the ownership and appraisal Beautiful Ladies Wearing Flowers prior to the Southern Song dynasty,as well as parts of the Yuan and Ming dynasties.This leaves many doubts and controversies concerning the attribution proposed during later periods.Since Xie Zhiliu voiced his objection in 1958,the academic community has constantly been discussing this issue.By summarising the comments developed on this painting over the past sixty years,one will find that new evidence has yielded new points of view,which have not only enriched out knowledge but have also allowed to further probe into the connotations of this work.The essence and vitality of excellent ancient Chinese paintings often require this kind of renewal as a form of "introduction" that will finally lead to their full unveiling.