攷史而兼賞鑑：南宋岳珂法書收藏研究

Criticism and Appreciation: Yue Ke’s Calligraphy Collection in Southern Song

呂昀真(Yun-Chen Lu)

指導教授 ： 盧慧紋

國立臺灣大學/文學院/藝術史研究所/碩士(2013年)

https://doi.org/10.6342/NTU.2013.01565

摘要

本論文聚焦南宋中期收藏家岳珂（1183-1243後），藉由檢視其收藏著錄、刊刻法帖以及其他相關文獻與視覺材料，進而整理、分析他的法書收藏活動與內容；並在這基礎之上，企圖瞭解岳珂收藏對於其個人與時代的意義。過往學界對於宋代收藏議題的探討多聚焦在宮廷，私家收藏較不受到關注；然而南宋出現了許多握有足以與內府藏品匹敵的私人收藏家，其中，年代較早的即為主要活動於南宋中期的岳珂。其身為抗金名將岳飛之後，一生繼承了父志以撰史為家族雪冤為使命，著有考證岳飛抗金歷史的《金佗粹編》、《金佗續編》；同時也收藏了為數可觀的法書藏品，編纂成《寶真齋法書贊》著錄，以及將所收藏的米芾書跡刊刻上石，是為《英光堂帖》。
岳珂將其所收藏的墨跡文字視為史料，往往在對同朝名賢書跡跋贊之時，藉此考證史事、臧否人物，其中藴涵的史家關懷，是過往不曾被重視與深究的；另外，從著錄的內容看來，岳珂的收藏是以宋代名人書帖為大宗，佔了總數量的五分之四多，其中又以蘇軾、黃庭堅、米芾、薛紹彭四家的書帖為最，反映出南宋士人對於北宋四家的收藏興趣。本文遂聚焦在岳珂所收藏的宋代帝王與名人書帖，關注在過往討論岳珂收藏不曾被關注的「史家使命」與「收藏興趣」這兩個層面，藉此釐清岳珂收藏內容與活動的特殊性；最後，將之置於岳珂個人與時代的脈絡之下，檢討其收藏活動的意義。

關鍵字

岳珂 ； 寶真齋法書贊 ； 英光堂帖 ； 南宋私人收藏

並列摘要

This study focuses on calligraphy collection of Yue Ke (1182-after 1243), a Chinese collector active in Southern Song Dynasty. By examining and analyzing Yue Ke’s Bao Zhen Zhai Fa Shu Zan, the record of his lifetime collection, and Model Calligraphy of Ying Guang Tang, the rubbings of his collection of Mi Fu’s calligraphy, the study draws an outline of a connoisseur’s collecting process and collected works. Furthermore, this study is dedicated to exploring the meaning of Yue Ke’s collection to him and to the era. In the past, researches on Song Dynasty collection mostly aimed at royal court, private collectors were not paid much attention to; however, several great connoisseurs have occurred in Southern Song, whose collection could almost compete with emperors, and Yue Ke was one of them.
As a descendant of the great anti-Jin general Yue Fei, Yue Ke inherited the uncompleted mission from his father to exonerate his grandfather who had been wronged, and collecting calligraphies seems to be involved in the mission. Yue Ke viewed his collection not only artworks but also historical documents, and left his comments on the scrolls to express his own criticism and judgment. Yue Ke’s historical criticism in inscription on the scroll and in the Bao Zhen Zhai Fa Shu Zan, which has rarely been discussed before, is one of the major themes in this study.
Another theme of the study is Yue Ke’s collecting interests. Besides debating the injustice for Yue Fei, Yue Ke was also appreciated in the beauty of calligraphy itself. His collection shows great interests in Northern Song calligraphers Su Shi, Huang Ting-jian, Mi Fu and Xue Shao-peng. Yue Ke’s comments on those great calligraphers provide some evidences to analyze how Northern Song calligraphy been perceived in Southern Song.
Yue Ke’s historical criticism and taste of appreciation are two main concerns in the thesis, and Yue Ke’s case will turn over a new page for understanding Southern Song private collection.

並列關鍵字

Yue Ke ； Bao Zhen Zhai Fa Shu Zan ； Model Calligraphy of Ying Guang Tang ； Private collection in Southern Song

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