高羅佩、米芾與中國書畫鑑賞

R. H. van Gulik, Mi Fu, and Connoisseurship of Chinese Art

漢學家高羅佩以研究中圓古代房中術和創作狄公案小說名聞於世。本文藉由探討高氏較少為人注意的三部有關中國書畫鑑賞的論著或譯作，切入他的中國藝術鑑賞觀，指出高羅佩之所以特重「裝裱」一門，視之為賞鑑之首要，實受米芾之影響。而高羅佩特別標舉米芾論藝時所顯示的「科學精神」，則是他認為鑑賞應服膺一種西方「科學方法」觀念下的產物。高羅佩自身作為一個學者和收藏家，雖然孜孜不倦，樂在其中，但就其系統性和嚴謹性看來，和現代歐洲的學院派科學鑑賞家的水準仍有一段距離。這與他在日本和中國滯留期間，出於客觀條件上的局限，未能系統地過目大量宋元名家真跡，不無關係。雖然如此，自高氏看似樸拙的作品中，可以發掘出諸如對「物質性」、「藝匠知識」等之強調，可與近年歐美人文學界物質文化研究等新取徑遙相呼應。

This essay presents a critical overview of van Gulik's approach to the connoisseurship of Chinese painting and calligraphy by analyzing his three published books on the subject. Disenchanted with the primitive state of the study of Chinese art in the English-speaking world in the 1930s. van Gulik sought to establish a new method and new terminology for analyzing Chinese pictorial art that conformed to the modern scientific spirit. He disparaged most traditional Chinese scholars, finding inspiration only in the Song artist and critic Mi Fu 米芾 whose precise language and empiricist approach to connoisseurship impressed the young Sinologist as the embodiment of the scientific spirit. When compared to the strictly rationalistic criteria adopted by the practitioners of scientific connoisseurship in Europe and America, however, van Gulik's own performance appears wanting. Although van Gulik's achievements do not measure up to his own ambitious standards, in valuing mounting and other aspects of the material craft of painting, he anticipated the recent turn to material culture among historians of science, technology, and art in East Asia at the beginning of the twenty-first century.