魏萨氏绘画藏品流转与欧洲中国艺术鉴藏观念关系之研究  

A Study of the Relationship between the Circulation of Wei Sashi’s Painting Collections and European Ideas about the Identification and Collection of Chinese Art

作　　者：赵娟[1] Zhao Juan

机构地区：[1]北京体育大学人文学院

出　　处：《美术》2020年第11期130-133,共4页Art Magazine

基　　金：国家社科基金艺术学一般项目“德语世界中国艺术的收藏、展览与研究(1860-1949)”(19BF090)阶段性研究成果。

摘　　要：1908年-1909年德国柏林皇家艺术科学院举办了"魏萨氏中国绘画收藏展",1910年其中大部分藏品进入大英博物馆,成为继安德森藏品后入藏数量最大的一批中国绘画。1906年柏林东亚艺术博物馆成立,开始有计划收藏包括中国绘画在内的艺术品。本文试图结合这一时期藏品目录、书信、展览信息、论著、档案等,揭示欧洲内部在中国绘画艺术收藏和接受上的差异,探究跨文化语境下中西艺术观念的交互影响。From 1908 to 1909,the Prussian Academy of Arts in Berlin,Germany,held the"Weisa’s(‘魏萨氏’in Chinese)Chinese Painting Collection Exhibition".In 1910,the British Museum gathered most of the collections.This batch became the largest collection of Chinese paintings after the Anderson Collection.In 1906,the Berlin East Asian Art Museum was established and started collecting artworks including Chinese paintings in a systematic way.This paper delves into the collection catalogs,letters,exhibition information,treatises,archives,etc.of this period,aiming at unfolding the differences in the collection and acceptance of Chinese painting art within Europe,so as to explore the interactive influence of Chinese and Western art concepts in a cross-cultural context.

关 键 词：魏萨氏 中国绘画 收藏 

分 类 号：J209[艺术—美术]