“留意于物”与“寓意于物”:容庚的书画鉴藏  

Attention and Implications in Collection:Rong Geng's Connoisseurship of Chinese Painting and Calligraphy

作　　者：冯嘉安 Feng Jia'an

机构地区：[1]中山大学艺术学院

出　　处：《艺术与民俗》2025年第1期76-84,共9页Journal of Arts and Folklore

基　　金：广东省哲学社会科学规划2023年度青年项目《学术转型视角下的容庚书画鉴藏研究》(项目编号:GD23YYS35)的阶段性成果。

摘　　要：清朝统治结束后,大量清宫书画旧藏流入民间,为民国时期的书画收藏活动提供了新来源。容庚自20世纪20年代开启其学术生涯并活跃于北平。在从事金石文字学研究之余,容庚对书画的收藏与研究也用力颇深。相较于同时代财力雄厚的藏家,作为学者的容庚财力有限,只能选择性地开展书画鉴藏,并以收藏带动研究。容庚的书画鉴藏可归纳为“可得者尽力搜藏”“不可得者以临摹代收储”和“不可见者求之于著录”三个特点。After the collapse of the Qing dynasty,a significant number of calligraphies and paintings from the Qing palace collections dispersed into society,which provided opportunities for collectors during the Republic of China era.Rong Geng began his academic career in the1920s and was active in Peking.In addition to studying epigraphy,Rong Geng also dedicated considerable effort to collecting and researching calligraphy and painting.Unlike the wealthy collectors of his time,Rong Geng,as a scholar,engaged in targeted collecting of calligraphy and paintings with his limited financial resources and used his collection to fuel his research.Overall,Rong Geng's connoisseurship of calligraphy and painting can be summarized into three dimensions: "collecting what is available", "copying what is not obtainable",and "cataloging what is inaccessible".

关 键 词：容庚 书画 鉴藏 著录 

分 类 号：J120.9[艺术—艺术理论]