硯為心聲：高鳳翰（1683-1749）《硯史》研究

Abstract

《硯史》是清代著名書畫家高鳳翰（1683-1749）製硯、銘硯、藏硯、過眼之譜錄，《硯史》原冊在道光年間（1821-1850）為宿遷王相（1789-1852）購得，並延請王曰申（1788-1841）、吳熙載（1799-1870）等人翻刻，今已不知所蹤，僅有王相等人的摹本傳世。 本論文企圖通過對高鳳翰所留下的相關資料、王相等人所製作的《硯史》摹本、王曰申《王子若摹刻《研史》手牘》等材料的研究，以《硯史》為個案，關注以往學界未曾深入探討過的清代賞硯風尚中文人的硯癖，文人的自製、銘跋、自拓，以及由此衍伸出的刻工、拓工等專業人士與文人的互動情形。 過去對高鳳翰的研究多聚焦於其生平編年與繪畫方面，本文試圖藉由探討《硯史》的製作，增進對高鳳翰的製硯、刻銘、傳拓藝術的理解，從中窺得高鳳翰的審美主張與精神內涵，並補充對高鳳翰人際網絡的認識。另外，筆者希望經由分析《硯史》、《硯史》摹本製作的具體工序與所涉及的人物，能夠補充我們對藝術史研究中贊助人以及實作議題的了解。 《硯史》既是高鳳翰個人的情感寄託，也是時代的產物。

Inkstone History is written by a famous Qing dynasty artist Gao Fenghan (1683-1749). It describes his artisanal inkstone production techniques, inkstones with his personal seal inscription, his inkstone collection, and the special inkstones he had seen over the years. Wang Xiang took possession of the original copy of Inkstone History in the Emperor Daoguang era of the Qing dynasty (1821-1850), and retained the famous artists Wang Yueshen (1788-1841) and Wu Xizai (1799-1870) successively to carve copies of Inkstone History. Today, the original copy of Inkstone History has been lost, and only the copies made by Wang and Wu have survived. This essay explores the literary records and works that Gao left, the extant copies of Inkstone History, and Letters to Wang Xiang about Inkstone history by Wang Yueshen, to discuss the popular inkstone art in the Qing dynasty. The study considers why the literati so enjoy inkstones; how the literati carve inkstones, inscriptions on them and making ink rubbings from them. This paper also discuss the interaction between literati and craftsmen. These questions have largely been unexplored in depth by scholars. The past research about Gao Fenghan usually focuses on his life and painting works. In this research, I try to analyze Gao's Inkstone history to enhance our understanding of Gao's carving, inscription and rubbing art, to elucidate his aesthetic viewpoint, artistic content and social network. In addition, it is hoped that through the analysis of Inkstone history in detail, the reproduction processes of its copies and the people involved can enhance our understanding of art patrons as well as the production process of an art work in art history research. Inkstone history presents not only Gao's own emotional sustenance but also represents a product of the dynasty.