民初青銅器圖錄複製觀念的轉變：以容庚《武英殿彝器圖錄》為中心

Abstract

1930年代中國青銅器圖錄出版數量突然驟增。一方面得益於新式印刷技術傳入，提供大量出版的技術基準；另一方面，清宮舊藏對外公開與新出土器物出現，可供研究的新材料增加，挑戰了傳統觀賞和研究古代青銅器的方式。 古器物學者容庚（1894~1983）在1929年至1940年短短幾年間，出版了8部青銅器圖錄，其中《武英殿彝器圖錄》（1932年編成）使用「照片─珂羅版」呈現器影，「完整紋飾單元拓片─石印」進行細部研究。容庚一改過去圖錄型式，意圖確立一個良好的編輯體例，而容庚的編輯體例也被1930年代許多圖錄編者沿用。 值得注意的是，新複製技術的使用並不能將之視為理所當然，在《武英殿彝器圖錄》出版之前，青銅器圖錄畫面呈現方式複雜而多樣，1930年以前仍有許多青銅器圖錄使用線描圖與全形拓，甚至認為照相僅為器物因受損或鏽蝕而難以傳拓時，不得已的替代選擇。 圖錄型式的轉變，代表了1930年前後「觀看銅器」觀念的轉變，從關注器物銘文轉向關注器物整體，並且對器物紋飾的變化產生興趣，學者們意圖藉由紋飾分析，做為另一個斷代青銅器的基準。從1930年代的青銅器圖錄可以看出學者們研究興趣的轉向，這個轉變也和當時海外刺激，例如：梅原末治（1893-1983）和高本漢（Klas Bernhard Johannes Karlgren, 1889-1978）的研究有關。In the 1930s, the number of Chinese bronze catalogues sharply increased. It was, on one hand, caused by the availability of newly-introduced printing technologies, which provided standard methods for publication. On the other hand, the outflow of the Qing imperial collection and the artifacts unearthed from the tombs provided scholars with new research materials, challenging the traditional ways of viewing and studying ancient bronzes. Rong Geng容庚 (1894-1983), one of the most influential antiquity researchers, published eight bronze catalogues in a relatively short period, 1929-1940. In the Catalogue of Ritual Bronze Objects in the Wuying Palace武英殿彝器圖錄, edited in 1932, Rong experimented with different printing methods to reproduce different kinds of images: "photo - collotype" for image of the bronzes and "rubbed mage - lithography" for details. This thesis argues that Rong intended to reform the past style of the catalogue and to establish a good style, which was followed by many catalogue editors in the 1930s. Rong’s adoption of new printing technology should not be taken for granted, however. Before publication of the Catalogue of Ritual Bronze Objects in the Wuying Palace, images in bronze catalogues were presented with complicated and diverse ways. Many catalogues before 1930 still used line drawings and full-sized composite rubbings (quanxingta 全形拓) and photography was only considered when bronzes were too damaged or too rusted to be rubbed. The shift of style in the catalogues of the 30s indicates a conceptual change in seeing the bronzes. The traditional focus on inscriptions shifted to viewing objects as a whole, triggering scholarly interests in looking closely at the decorative patterns, which had become gradually important in dating bronzes. The bronze catalogues of the 30s also witnessed the turn of scholars' interests in research, which was related to overseas stimuli at the time, such as the studies of Sueji Umehara (1893-1983) and K. Bernhard Johannes Karlgren (1889-1978).