小中現大：《倣宋元人縮本畫及跋》相關問題

Abstract

摘 要 《小中現大冊》實際上的名稱是「倣宋元人縮本畫及跋」，現藏於台北國立故宮博物院。因為在這本冊頁的引首被題有「小中現大」四個大字，故習稱「小中現大冊」。在這本冊頁中收錄了二十二幅宋元名畫的縮本，當中十八幅縮本的對頁則書寫了對這些宋元名跡鑑定的意見、對這些偉大畫家的評價、談論畫風的淵源或出處、以及記述原跡的流傳經過等，是我們研究畫史以及十七世紀收藏的重要材料。這些臨摹的複製品被稱為「縮本」，藉由匯集這些古代大師傑作的縮本，畫家建構了一個可堪稱為典範的理想的繪畫世界，其在冊頁所題引首有「小中現大」四字，更透露出匯集這一本縮本冊頁的企圖與雄心。這本論文要談的，就是這個畫家建構理想的繪畫世界這件事。 論文共分四章。第一章主要討論《小中現大冊》作者的問題。首先檢討過去研究中對於作者問題的種種論說，並試著解決作者的歸屬，同時也釐清《小中現大冊》中所收錄的內容。第二章則進一步討論《小中現大冊》中的縮本如何製作的問題。首先回顧畫史中傳移摹寫的傳統，接著回顧縮本製作的歷史，最後試著重建《小中現大冊》的製作情境。接著在第三章將討論《小中現大冊》的功能。首先就繪畫傳習的脈絡來看，討論《小中現大冊》與粉本、畫譜、課徒稿之間的關係，以及《小中現大冊》究竟如何在繪畫的學習之中起作用。其次就圖繪收藏的脈絡來看，討論《小中現大冊》在這個脈絡中的意義。再者，討論「小中現大」的意涵。最後在第四章要討論的是《小中現大冊》的傳承以及其對於那些有幸能夠複製、觀看、接近它的人，《小中現大冊》所發揮的功用以及其對於繪畫的發展的影響。

ABSTRACT The album To See Large Within the Small formally known as Imitations Of Song and Yüan Masters, Copies In Reduced Size: Paintings With Colophons is known by the four oversized characters attributed to Dong Qi-Chang (1555 – 1636), each filling an entire leaf. The album consists of twenty-two copies of Song and Yüan masterpieces. Eighteen have colophons written on the opposite leaf, discussing original attribution, comments on those great masters, the origins of their styles, and the collecting history of the paintings, etc. It is important material for us to study the history of art and collection in the seventeenth century. These imitation replicas are called “reduced copies”, through collecting them the artist constructed an ideal world of painting that can be seen as a canon. The four characters To See Large Within the Small reveal the intent of the album and this thesis explores those themes. There are four chapters. The first, mainly discusses the attribution of the album. It reviews all different opinions about authorship in the past and tries to find a way to solve this problem, clarifying the contents of the album. The second further discusses how these reduced copies were made. It initially reviews the tradition of copying in Chinese painting history, it goes on to review the history of making reduced copies, and attempts a reconstruction of the conditions under which the album was made. The third discusses the function of the album; in the context of the development of Chinese art; the relationship between the album, draft, and painting manuals; what is its position in the artist’s painting career; the album in the context of pictorializing the collection. The fourth, the inheritance of the album and its influence on those who later reproduced, saw, and assessed it.