后来居上:董其昌书画的流传与价格初探  

The Newcomer Takes the Lead:An Initial Survey on the Spreading and Pricing of DONG Qichang's Calligraphy and Paintings

作　　者：姚东一 YAO Dongyi

机构地区：[1]常州工学院艺术与设计学院美术系,江苏常州214122

出　　处：《艺术探索》2021年第4期22-34,共13页Arts Exploration

基　　金：教育部人文社会科学研究青年基金项目“晚明的画风、世风与国运研究”(18YJC760115);常州工学院2017年度校级科研基金项目“董其昌书画鉴藏、交游与创作研究”(YN1760)。

摘　　要：明清书画目录中所录董其昌作品的多寡变化明显,由于画派与地缘因素,其作品在晚明似乎并未受到藏家广泛关注,在清代才正式进入官、私收藏者视野。从数量上看,其传世作品以法书居多。从时间上看,清代私人目录著录数量在康乾时期较多,嘉庆时达到一定高峰后减少,咸丰、光绪年间略有增加,此后再次减少,至清末民初时再次增多。清代,随着对董其昌书画评价的转变,其书画的价格也发生变化,在评价优缺并举的清初、中期,其书画价格并不高昂,在评价日益提高的清中后期,才有比较可观的价格和上涨趋势。The number of DONG Qichang's works recorded in the Ming and Qing calligraphy catalogues varied significantly in time.Due to painting schools and geographical factors,his works do not seem to have received widespread attention from collectors in the late Ming dynasty.Only in the Qing Dynasty did his work attract the attention of official and private collectors.In terms of quantities,most of his extant creations are works of calligraphy.The number of private catalogues recorded under the Qing Dynasty was relatively large during the Kangxi-Qianlong period.It decreased after reaching a certain peak in the Jiaqing period,experienced a new and slight increase during the Xianfeng and Guangxu periods,after which it decreased again,only to grow once more in the late Qing Dynasty and the early years of the Republic of China.As the appraisal of DONG Qichang's calligraphy changed under the Qing Dynasty,the price of his paintings and calligraphy varied accordingly.Throughout the early and mid-Qing Dynasty,and as they were the object of both positive and negative reviews,his works remained inexpensive.Only in the middle and late Qing Dynasty were they marked by considerable prices and upward trends,due to the rise of positive appraisals.

关 键 词：书画目录 董其昌 流传 价格 

分 类 号：J212[艺术—美术]