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孙毓汶为清代私人书画收藏家。其整体收藏情况不甚明了,书画收藏活动、收藏喜好,也少有专文论及。1982年,其后人捐赠给中国国家博物馆一批书画,大部分钤有孙毓汶的鉴藏印,虽不能反映孙毓汶收藏全貌,但仍不失是一次最大的汇集,从中可以看出孙毓汶所藏偏向绘画,呈现出少书法,略花卉、人物,详山水的特点。孙毓汶的藏品大多重新制作了书画套,其亲自书写套签,并钤盖鉴藏印,印章数量多达七十余方,印文内容极其丰富。本文根据孙毓汶书写的题签、题跋以及鉴藏印,结合相关史料,探讨孙毓汶的书画收藏、整理、鉴赏活动,以及孙毓汶的书画喜好和审美倾向。孙毓汶作为清代官员,其审美价值取向是对正统派“四王”绘画的认同,“四王”推崇“清正雅和”的审美思想,与当时所倡导的宋明理学思想一致,不仅满足了文人士大夫“寄乐于画”的心理需求,还成为维系最高统治者与朝野文人士大夫精神联系的文化传统,对清代正统的审美倾向也产生了影响。孙毓汶对“四王”绘画的认同,就是一种最好的印证。
Sun Yuwen as a collector of private painting and calligraphy in the Qing Dynasty. The overall collection of the situation is not clear, calligraphy and painting collection activities, favorite collections, but also few monographs. In 1982, his descendants donated a batch of calligraphy and painting to the National Museum of China. Most of the calligraphy and painting possessing Sun Yuwen did not reflect the complete collection of Sun Yuwen’s collection, but it was still the largest gathering at a time. Sun Yuwen Tibetan bias paintings, showing a small calligraphy, a little flowers, figures, detailed landscape features. Most of Sun Yuwen’s collections have been reworked in the form of calligraphies and calligrams, which he himself wrote in sets of labels and jianjianjiangyin. The number of seals amounted to more than seventy, and the content of the seal was extremely rich. Based on the inscription signed by Sun Yuwen, inscriptions and postscripts and the identification of possession of Tibetan Buddhism, this article explores Sun Yuwen’s calligraphy and painting collection, arrangement and appreciation activities, as well as Sun Yat-sen’s calligraphy and painting preferences and aesthetic tendencies. As an official of Qing dynasty, Sun Yawun’s esthetic value orientation is the aesthetic idea of the orthodox “Four King ” paintings, “Four King ” esteem “Qingzheng Yahe Consistency of Neo-Confucianism not only satisfied the psychological needs of the literati and physician, but also became the cultural tradition of maintaining the spiritual connection between the supreme ruler and the officials of the ruling and literary gentry. It also had an impact on the orthodox aesthetic tendency in the Qing Dynasty. Sun Yuwen’s recognition of the painting ”Four Kings" is one of the best proofs.