現藏於臺灣國立故宮博物院的《小中現大冊》實際上的名稱是「倣宋元人縮本畫及跋」。因為在這本冊頁的引首被題有「小中現大」四個大字，故習稱「小中現大冊」。在這本冊頁中收錄了二十二幅宋元名畫的縮本，當中十八幅縮本的對頁有董其昌所書寫對這些宋元名跡鑑定的意見、對這些偉大畫家的評價、談論畫風的淵源或出處、以及記述原跡的流傳經過等。是我們研究畫史以及十七世紀收藏的重要材料。本文所要討論的是《小中現大冊》的功能以及它與作者王時敏的關係。主要分為三個層次，第一、本文從「傳習」的角度切入分析《小中現大冊》之實際功能與王時敏畫業的關係，試圖將之置於「實際操作」的行為脈絡中就「實踐面」上來解釋《小中現大冊》在南宗繪畫學習中的具體位置。二、本文還將從圖繪收藏的脈絡，來探討《小中現大冊》與王時敏收藏之關係以及圖繪「收藏集冊」的意圖。三、就「小中現大」的典故、出處、以及詞意來討論《小中現大冊》的意涵與王時敏「建立典範」的關係。希望對《小中現大冊》在畫史發展中之意義及重要性做具體的定位。

Album to See the Large within the Small, now a part of the National Palace Museum collection, Taipei, was formally entitled Album of Paintings after Song and Yuan Masters in Reduced Scale. It was called “To See the Large within the Small” because there were four Chinese characters, “xiao zhong xian da (to see the large within the small)” written on the first page of the album in big scale. The album includes reduced copies of twenty-two famous paintings from the Song and Yuan dynasty, eighteen of which contain Dong Qi-Chang’s colophon writing, the contents of his writing include his connoisseurship opinions about these paintings, his evaluations toward these masters, his discussion of their origins of styles, and the collective history of these famous paintings. It is an important material for us to research the Seventeenth Century paintings and history. This essay will concern itself with the significance of Album to See the Large within the Small and its relationship to it’s painter, Wang Shi-Min. First of all there are perspectives, where I will analyze the practical function of Album to See the Large within the Small and its relationship with Wang Shi-Min’s painting career. This will be accomplished in the context of “painting learning” and “painter’s practice.” Secondly, I will analyze it from the context of picturing the collection to discuss the relationship between Album to See the Large within the Small and Wang Shi-Min’s art collection and to explain his intention of picturing an album for his collection. Thirdly, I will trace back the origin of the term “to see the large within the small” and its meaning to the Orthodox School painters, to define the relationship between the album and Wang Shi-Min’s action of establishing paradigm. It is my intention to locate a position for the meaning of Album to See the Large within the Small and its impact in the development of Chinese painting.

小中現大冊; 倣宋元人縮本畫及跋; 縮本; 典範; 正統派; 王時敏; 四王; 董其昌

To See the Large within the Small; Album of Paintings after Song and Yuan Masters in Reduced Scale; reduced copy; paradigm; the Orthodox School; Wang Shi-Min; four Wangs; Dong Qi-Chang