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Criticism and Appreciation:
Yue Ke’s Calligraphy Collection in Southern Song
Yue Ke,Bao Zhen Zhai Fa Shu Zan,Model Calligraphy of Ying Guang Tang,Private collection in Southern Song,
|Publication Year :||2013|
This study focuses on calligraphy collection of Yue Ke (1182-after 1243), a Chinese collector active in Southern Song Dynasty. By examining and analyzing Yue Ke’s Bao Zhen Zhai Fa Shu Zan, the record of his lifetime collection, and Model Calligraphy of Ying Guang Tang, the rubbings of his collection of Mi Fu’s calligraphy, the study draws an outline of a connoisseur’s collecting process and collected works. Furthermore, this study is dedicated to exploring the meaning of Yue Ke’s collection to him and to the era. In the past, researches on Song Dynasty collection mostly aimed at royal court, private collectors were not paid much attention to; however, several great connoisseurs have occurred in Southern Song, whose collection could almost compete with emperors, and Yue Ke was one of them.
As a descendant of the great anti-Jin general Yue Fei, Yue Ke inherited the uncompleted mission from his father to exonerate his grandfather who had been wronged, and collecting calligraphies seems to be involved in the mission. Yue Ke viewed his collection not only artworks but also historical documents, and left his comments on the scrolls to express his own criticism and judgment. Yue Ke’s historical criticism in inscription on the scroll and in the Bao Zhen Zhai Fa Shu Zan, which has rarely been discussed before, is one of the major themes in this study.
Another theme of the study is Yue Ke’s collecting interests. Besides debating the injustice for Yue Fei, Yue Ke was also appreciated in the beauty of calligraphy itself. His collection shows great interests in Northern Song calligraphers Su Shi, Huang Ting-jian, Mi Fu and Xue Shao-peng. Yue Ke’s comments on those great calligraphers provide some evidences to analyze how Northern Song calligraphy been perceived in Southern Song.
Yue Ke’s historical criticism and taste of appreciation are two main concerns in the thesis, and Yue Ke’s case will turn over a new page for understanding Southern Song private collection.
|Appears in Collections:||藝術史研究所|
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