論清季廣東收藏家藏畫目錄之編輯

A Note on Five Art Catalogues by Nineteenth-century Kwangtung Collectors

有關於中國書畫著錄或歷史的書籍，從宋代以來，其編輯的原則，大致可分兩類：第一類把對書法與畫蹟方面的記錄或描述分開，成為各自獨立的兩個部份。第二類則把對書法與畫蹟所作的記錄合為一編。在宋代，屬於第一類的，又分為官纂與私纂等兩種。

Before the nineteenth century, most Chinese antique collectors centred around the region o£ the Yellow and Yangtze rivers. Starting from the middle of the nineteenth century, certain Cantonese scholars serving in the North, as well as Cantonese merchants in the salt business, began to show an interest in antique objects. As a result, five art collections of considerable size were built up in Kwangtung, the southernmost part of China. Moreover these five collectors had all compiled catalogues for their col lections. From the Sung dynasty onward, two editing principles became commonly used in the compilation of Chinese art catalogues. One was to divide the record of calligraphy from that of painting, so that they formed two independent sections. The other was to combine the records of calligraphy and painting into one chronicle. These two principles had been in use ever since the Sung dynasty. However, during the Ch'ing dynasty, the number of catalogues that were compiled in accordance with the combination principle far exceeded those that followed the separate section principle. The ratio between them was approximately 1:4.5.