林風眠水墨仕女作品鑑定研究

Exploration on Authenticating Lady Ink Paintings by Lin Feng-Mian

呂松穎(Song-Ying Lu)

《藝術論壇》 4期 (2006/05) Pp. 69-114

https://doi.org/10.6236/JAF.200605_(4).0005

摘要

本文從鑑定的角度，對林風眠水墨仕女作品進行研究。歷來關於林風眠的研究重點，主要集中在其美術教育的成就、改革中國繪畫的貢獻和個人的風格特色，從鑑定角度來對其畫作進行研究者，則相對稀少。
本文在研究架構上，第一部分，對林風眠的藝術觀與生平進行研究：理性與感性的結合、以及融合中西的理想，是其藝術觀中重要的部分；生平的眾多相關訊息則是鑑定時的參考資料。第二部分，對鑑定的主要依據「風格」進行研究：首先，自重要出版品中篩選出125件作品，建立標準件(prime objects)，以此作為研究樣本；其次，從構圖、造型、技法三個層次觀察；最後，歸納出個人風格反映在對「形式美感」、「純熟技法」的追求，而有「摸索期」、「發展期」、「成熟期」等分期風格的不同。第三部分，對鑑定的輔助依據與相關知識進行研究：提供印章、簽名、幅式、收藏記錄與拍賣記錄等訊息，以此共同架構出完整的鑑定知識。第四部分，對疑似偽作提出質疑：列舉網路拍賣及拍賣會拍品中，曾出現之疑似偽作，作為比對分析的對象，並發現其與真跡在風格上有著顯著的差異。

關鍵字

林風眠 ； 鑑定 ； 水墨 ； 仕女

並列摘要

This article attempts to analyze the lady ink paintings by the artist Lin Feng-Mian from the authentication angle. Past research about Lin Feng-Mian mostly focuses on his achievement in art education, his contribution to new Chinese art, and his individual style. Only a little research focuses on how to judge his paintings from the authentication angle.
This article is divided into four sections. The first summarizes his aesthetic concept and his life. The second analyzes his ”style” as the major basis for authentication: the first step is choosing 125 samples from reliable collections as ”prime objects”; the following step is observing them in three levels-structure, forms, and techniques; finally, summarizing his individual style and its differences between different periods. The third section researches the minor basis for authentication: stamps, signatures, sizes of works, collection records, and auction records. The fourth takes two fakes as examples, and points out the differences between fakes and genuine works.

並列關鍵字

Lin Feng-Mian ； Authentication ； Ink Paintings ； Ladies