張蔭椿(1869-1922)和1915年前後針對國際市場的宋畫鑒定（英文）

Zhang Yinchun(1869-1922) and the Authentication of Song Paintings for the International Market, ca. 1915

張蔭椿是一位活躍於20世紀最初20年的書法家和學者,他爲當時包括龐元濟、李文卿和游筱溪在内的幾位主要上海古董商做過古畫的鑒定。上海古董商爲所謂的唐宋畫找到了一個闊綽而充滿活力的市場,尤其在美國。那裏,在福開森(ErnestFonollosa)的教誨影響下,富翁收藏家例如查爾斯·朗·弗利爾開始珍視早期中國繪畫,並在日本和中國四處搜尋,一時成爲西方獵取唐宋繪畫的領銜人物。這些新興而狂熱的西方收藏家搜尋用宋代風格繪製、既具裝飾性又寫實的、豐富多彩的花鳥畫,怪異超脱塵世的道釋神仙畫,以及使人聯想到南宋宫廷的那種浪漫峻美的山水畫。而這種種繪畫中没有任何一種,在清朝的數百年間,曾引起過中國收藏家的任何興趣;目前仍可見到的這些類型繪畫中最好的例子,事實上都比宋畫要晚的多,均爲15到16世紀明代宫廷以及清代職業畫家製作。因此,張蔭椿像他同時代的許多人一樣,對於真正的宋畫幾乎一無所知。這些宋畫長久以來與僞作、贋品難於分辨地混淆於清宫皇室收藏中,魚目混珠,以致銷聲匿迹,最終失去了自己的真實身份。儘管在我們當代人看來,張蔭椿宋畫鑒定背後的邏輯並不總是很明晰,但是將它放在以上的歷史情境下卻較爲容易理解。在我們目前所知4 5幅經由張蔭椿鑒定,並且被他認爲是唐、宋、元代早期畫家的畫作中,可能只有極少部分確實是這麽早的。幾乎所有張蔭椿的唐宋元畫也都代表董其昌所厭惡的北宗宫廷和職業畫家,他們在整個清代日益被鄙棄與貶低。至20世紀初期,對於這些被張蔭椿和他同時代鑒定家認爲是唐、五代和宋代的藝術傑作,清代收藏家早就失去了興趣——他們只關心那些由歷代文人畫家創作的紙本、士人風格的山水畫;這些文人畫家就是董其昌南宗之定義,也就是清代大多數收藏家所認定的藝術收藏之正宗。這篇文章的基本假設即是,正是在這樣一個充滿根深蒂固偏見而對早期中國繪畫普遍無知的時代,開始了近代對於宋畫之探索,並且正是張蔭椿這樣的鑒定家開啓了當代中國鑒定的新時期。

Zhang Yinchun was a calligrapher and scholar active during the first two decades of the20 th century in the authentication of old paintings for several of the leading art dealers of Shanghai, including Pang Yuanji, Li Wenqing, and You Xiaoqi. Shanghai dealers had found a rich and enthusiastic market for so-called Tang and Song paintings especially in the United States, where such wealthy collectors as Charles Lang Freer led a hunt through Japan and China for examples of the early Chinese paintings they had come to prize largely through the teaching of Ernest Fenollosa. The newly enthusiastic western collectors searched for colorful bird and flower subjects done in the decoratively realistic Song manner, pictures of strange, other-worldly Daoist and Buddhist deities, and landscape paintings done in the handsome, romantic manner associated with the Southern Song court.None of these kinds of paintings had been of any interest to collectors in Manchu China for centuries, and the best examples of the types still to be found were in fact all much later paintings produced for the Ming court in the fifteenth and sixteenth centuries, and by professional painters of the Qing era.Zhang Yinchun, thus, like others of his time, had very little real knowledge of Song painting, which had long-since disappeared into the Qing government collection where it had mixed inextricably with fakes and forgeries and virtually lost its identity. While to modern eyes the reasoning behind Zhang’s attributions may not always be entirely clear,they are easier to understand under these circumstances. Of the 45 paintings we have found so far bearing the authentications of Zhang Yinchun and attributed by him to Tang, Song,and early Yuan painters, only a handful might actually date so early.Nearly all of Zhang Yinchun’s Tang, Song, and Yuan paintings are also representative of Dong Qichang’s hated Northern School of court and professional artists, increasingly despised and devalued through the Qing period. By the early 20 th century the paintings now found by Zhang Yinchun and other connoisseurs of the time to be masterpieces of Tang, Five Dynasties, and Song art had long ceased to be of any interest to Qing connoisseurs, who cared only for landscape paintings done on paper in a scholarly manner by the succession of wenren painters who defined Dong’s Southern School, the true school of art for most collectors of the Manchu era.It is an underlying assumption of this paper that it was precisely in this era of deepseated biases and widespread ignorance of early Chinese paintings that the modern search for Song painting began, and that such connoisseurs as Zhang Yinchun opened the present era of Chinese connoisseurship.