文章首先鉤沉王鐸、王鏞、王鑨三兄弟的書畫碑帖收藏及其來源，指出孟津王氏是被忽略的明末清初收藏重鎮之一。由於個人的藏品在鼎革之際的動亂中大量損毀，王鐸在清初更熱衷於鑒賞活動，而很少購入新的藏品。王鐸與清初北京的收藏家之間有著密切的關係，他們的藏品多有王鐸題寫的鑒定意見，王鐸也毫不謙虛地以「書畫董狐」自居。王鐸自信於個人的審美經驗，主張「觀畫如人」，雖說這一整體性的觀照方法與董其昌並無二致，但他所篩選出的畫史「大家」與董其昌的「南宗」卻多所異同。王鐸強調南宗所未包括的荊浩、關仝、李成、范寬等北宋畫家的重要地位，而不同意董其昌沾沾董源、巨然，尤其是將倪瓚、黃公望作為山水畫的實際宗主。對於松江派以及董其昌本人，王鐸則表現出相當的輕視。可以說，王鐸鑒定活動的目標不僅是對古物的發言權，更是對當日藝壇影響力的爭奪，從某種意義上說，這正是後董其昌時代王鐸的占位策略。

This article focuses on the understudied art collecting hub at Mengjin county (Henan Province) that centers around the collection of noted calligrapher Wang Duo (1593-1652) and his brothers Wang Yong and Wang Long. As many private collections, including the Wangs’, were dispersed and damaged during the turbulent years of the Ming-Qing transition, Wang Duo rarely acquired new artworks in the early Qing. Rather, he redirected his efforts to connoisseurship. He maintained close relationship with Northern collectors and inscribed his comments on works in their collections. In art connoisseurship, Wang Duo modeled himself after ancient official Dong Hu (770- 476 BCE) who was known for speaking his mind. Wang is confident in his individual aesthetic experience and advocates the idea “Viewing a Painting as Viewing a Person.” While this concept may appear to be similar to that of Dong Qichang’s (1555-1636), the painting masters Wang praised were much different from those approved in Dong’s Southern School lineage. Wang emphasized the significance of Northern Song painters— including Jing Hao, Guan Tong, Li Cheng, and Fan Kuan—and disagreed with Dong’s theory of putting Dong Yuan and Ju Ran on the pedestal and particularly taking Ni Zan and Huang Gongwang as the actual paradigm of landscape painting. As for Dong’s own art and his Songjiang School followers, Wang expressed explicit disapproval. In his conscious reaction towards the dominating art theory, Wang showed a strong intention to make his mark of connoisseurship on ancient artworks. Moreover, I argue that Wang Duo’s art collecting practice and ambitious connoisseurship endeavor were his strategy to compete for influence and power in the art world in a post-Dong Qichang era.

明末清初; 收藏; 鑒定; 王鐸; 董其昌

Late Ming and Early Qing; collecting; connoisseurship; Wang Duo; Dong Qichang