|Title:||Antiquarian Trends in the Dynastic Revival of the Southern Song
|Keywords:||全形拓、仿古、鐘鼎款識、隸續 (archaism, antiquarianism, composite rubbing, Zhongding kuanshi, Li shu)||Issue Date:||Sep-2011||Source:||美術史研究集刊||Start page/Pages:||1-60||Abstract:||
One major branch of Chinese antiquarianism, the jinshixue (study of metal and stone), burgeoned and flourished with the efforts of the Northern Song scholar-officials to collect and study ancient bronzes and stone steles. Their works have been exalted as paradigmatic and their endeavors worth emulating, but how these assessments came into being is still open to debate. By taking into consideration the historical and cultural crisis of 1127, during which both the ancient capitals that had cradled the Chinese culture of high antiquity and the “national treasures” accumulated by pervious Song emperors were lost to the Jurchen, this study argues that the desire to recover that which was lost among imperial and elite collectors was predominant in the development of Southern Song antiquarianism, especially in areas around Hangzhou. Not only were Northern Song antiquarian works sought after, but likenesses of ancient bronzes were also reproduced in ink rubbing, ceramic, and bronze, driving the replication techniques to a new development. These replicas of antiquities served as substitutes for the lost originals to the nostalgic imperial and elite collectors. By recovering the “national treasures” they were able to rebuild the dynasty and to revive the glory of Kaifeng in Hangzhou. Seen in this light, the author contends, many Southern Song archaistic artifacts, although appearing to have been copied after Shang and Zhou bronzes, might in fact have been emulating emperor Huizong’s new ritual bronzes and the imperial antique bronze collections recorded in the catalogue Xuanhe bogu tu. Heavily charged with cultural and symbolic values, antiquities also played a significant part in the dynastic revival of the Southern Song.
|Appears in Collections:||藝術史研究所|
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