历代古书画割配于书画鉴研中的作用——从李升《淀湖送别图》之考鉴到王渊《木芙蓉图》真迹的发现

On Dissection and Re-composition Impacting Chinese Traditional Ink-Painting Identification and Research with the Cases of Li Sheng’s Farewell at the Dian Lake and Wang Yuan’s Ink Hibiscus

本文以上海博物馆藏元李升《淀湖送别图》卷等文物的鉴考为例,梳理海内外所见诸多被割配的书画实物,并结合文献与著录,剖析古书画割配之历史、缘由、手法与类型,以及历代鉴藏家所采用避免被割配的方法。同时,本文还以美国佛利尔美术馆藏元王渊《木芙蓉图》真迹之发现为例,探讨针对这一画史现象予以梳理及利用的必要性,及其对现今古书画研究与鉴定的重要意义与作用。

Based on the documented materials and the typical cases of the Shanghai Museum collected Farewell at the Dian Lake’(Diàn HúSòng BiéTú)attributed to Li Sheng who is the painter of the Yuan dynasty and other works included in Collected Treatures of the Stony Moat(Shi Qu Bao Ji in Chinese pinyin),this thesis reviews the dissected-andrecomposed works of painting and calligraphy which are possessed by the public and private collectors home and abroad tracing for the history,causes,means and the types.Meanwhile,it analyzes the skillful tricks connoisseurs and collectors of dynasties used to protect the masterpieces a masterpiece in its complete and original nature,not to be taken apart like that.For another,The thesis also demonstrates the way that dissection-and-recomposion had impacts upon the identification to the traditional paintings and calligraphies in practice,and how significantly the analysis of the applied means contributes to the research and connoisseurship of Chinese painting and calligraphy presenting the case of the re-born Qing-dynasty anonymous work of the Sackler Museum as Yuan-dynasty Wang Yuan’s Ink Hibiscus,which is now housed in the Freer Gallery of Art.