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中国书画之作伪,最初并非为了牟利,而是学习和保存真迹。临写和摹写是初学者的入门功课,对于原本而言,虽是赝品和伪作,但印刷术和摄影术尚未诞生的年代,也部分起到了保存真迹的作用。晋唐以前的书画如王羲之书法、顾恺之绘画,真迹鲜有流传者,今日所见多为宋元摹本。明清时期商品经济发达,收藏之风兴盛,随着书画商品化,作伪风气开始盛行。这些伪作中有临摹品,也有仿作和假造者,还有一种情况就是代笔。一些有名望的书画家因为应酬不暇,请人捉刀,自己在画上题款、用印。代笔者多为徒弟、朋友甚至妻子,也有像唐寅那样请老师代笔的艺坛佳话。这些经原作者默许甚至鼓励的种种“伪作”,也在历史上构筑了一道独特的艺坛风景。
The fake art of Chinese calligraphy and painting was not originally for profit, but to learn and save the authenticity. Prowriting and copying are introductory lessons for beginners. For the time being, although they were imitations and counterfeits, the era of printing and photography has not yet been born, and partly played the role of preserving authenticity. Painting before the Jin and Tang Dynasties such as Wang Xizhi’s calligraphy, Gu Kai’s paintings, few authentic followers, today seen mostly copy of the Song and Yuan Dynasties. During the Ming and Qing Dynasties, the commodity economy developed and the style of collection flourished. With the commercialization of calligraphy and painting, the fake atmosphere began to prevail. There are copies of these artefacts, as well as imitations and fake ones, as well as ghostwriting. Some prestigious calligraphy and painting because of being too busy, please people to catch a knife, his painting inscriptions, with India. Ghostwriter mostly apprentice, friends and even his wife, but also like Tang Yin, please write a teacher on behalf of the arts story. These “fake works”, which have been tacitly approved or even encouraged by the original author, have also created a unique artistic landscape in history.