论文部分内容阅读
本文由“马臀烫印”对波士顿本之版本年代、成画时间、描绘族别等问题进行检视。研究结果显示.波本烫印字样暴露出鉴识学上的破绽.此一破绽不仅提供了理据确凿的关键性证据,亦足以推翻前人对波本既有的版本认识。作为“祖本”——波本之马臀烫印出现了不该出现的讹误字样,而所谓的“摹本”——台北故宫本之烫印字样却悉数正确,这暗示波本既非刘商谱系本之祖本原型,亦非台北本之底本.台北本很可能才是成画年代更早、更为精确之南宋古本。其次.波本应非如前人所认定绘成于北宋中晚期或南宋初年,其成画年代应下推至南宋中晚期。再者,波本绘有1119年后始见于历史之女真字{(?)}烫印,这是判定该本描绘对象之族属必为女真族(而非契丹族)的最佳证明。
This article from the “horse hip stamping” on the Boston version of this era, the time to describe the painting, depicting ethnic issues such as review. The findings show that the burnt-out print of Bourbon exposes the intellectual flaws, which not only provide conclusive evidence of the key but also overthrow the predecessors’ understanding of the existing version of the book. As the “ancestral” - Bourbon Ma hip stamping appeared the wrong text should not appear, and the so-called “copy” - the Taipei National Palace Museum of the hot stamping words are all correct, suggesting that the wave is neither Liu Shang Genealogy of the ancestral prototype, nor is it the base of Taipei.This is likely to Taipei is the painting earlier, more accurate Southern Song Dynasty. Secondly, this should not be as the predecessors identified in the late Northern Song Dynasty or the early Southern Song Dynasty, the era of its formation should be pushed to the late Southern Song Dynasty. Moreover, Bourbon painted the stamp of the True Woman ({?}}, Which was found in history after 1119, which is the best proof that the ethnicity of the object of this painting will be a Jurchen (not a Khitan).