元初杭州鑑賞圈對錢選復古繪畫之影響
回上一頁姓名：姜映荷
外文姓名：Chiang, Ying-he
刊名：美術學報
第1期 (2006年 10月)
出版年：2006
出版月：10
ISSN：0543-386X
在元初興盛的書畫鑑賞風氣下，文人往往身兼書畫家與收藏鑑賞家等多重身份。本文藉由文獻的蒐集與畫作風格的比對，勾勒出與錢選相關的杭州收藏文人圈，考察錢選所交遊的收藏家與其藏品的關係，發現王芝、趙孟頫等錢選友人收藏的古畫，對錢選的山水畫、鞍馬畫復古風格有直接和間接的影響。錢選《山居圓》、《歸去來辭圖》風格與王芝藏品有闕，《山居圖》復古風格來自董源的設色山水畫，《歸去來辭圖》則淵源於李公麟摹唐的復古風格。錢選的鞍馬畫《臨伯時二馬圖》、《摹李伯時鳳頭廳圖》，與王芝藏品李公麟《五馬圖》風格密切。錢選《五陵挾彈圖》題材取自唐代貴遊人馬，則很可能與越孟頫收藏的唐代人馬畫有關。而杭州地區文會與書畫鑑賞結合的文人雅集，也有助於錢選得到更多鑑賞古書畫的機會，對於他繪畫的復古意識和復古風格的形成，亦有相當程度的影響。
During the early Yuan Dynasty, among literators painting and calligraphy appreciation is popular. The literators often play multi roles as painter as well as collector. Through examining the records and comparing the different painting styles, the circle of collectors in Hangchou associated to Qian Xuan can be drew out. By surveying these collectors and their collections, it can be seen that old painting collections belong to Wang Chi and Zhao Mengfu have direct and indirect influences on Qian Xuan's revitalization style in the landscape and horse paintings. The style of Qian Xuan's 'Mountain Dwelling' and 'Returning Home' can be seen influences from the collections of Wang Chi. The revitalization style of 'Mountain Dwelling' was originated from Tongyuan's landscape paintings, whereas the style of I Returning Home' was from Li Gonglin's work imitating the style of Tang Dynasty. Qian Xuan's horse painting 'Lin Poshi Er Ma Tu', and 'Mo Li Poshi Feng Tou Cong Tu', have their styles closely related to Wang Chi's collection of Li Gonglin's 'Wu Ma Tu'. The theme of Qian Xuan's 'Young Nobleman on Horseback' was inspired by the noble horseman paintings in the Tang Dynasty, and isvery likely influenced by the collection of Zhao Mengfu's horseman paintings from Tang Dynasty. The literate and painting appreciation society in Hangchou also provided Qian Xuan further opportunities for assessing to the old paintings, which had placed influences on the development of his revitalization painting style.