指導教授：盧慧紋臺灣大學：藝術史研究所劉冠宏Liu, Kuan-HungKuan-HungLiu2014-12-012018-05-292014-12-012018-05-292014http://ntur.lib.ntu.edu.tw//handle/246246/264507本論文藉由考證南宋米芾（1051-1107）曾孫米巨㝐（約十二世紀後半至十三世紀中）刊刻的《松桂堂帖》，討論米芾家族後人為保存米芾書蹟、建立家族傳統所作的努力。過往學界對米芾長子米友仁（1074-1151）的書畫、為宋高宗（1107-1187，r. 1127-1162）鑒定已有研究，但米芾家族實有更多成員不斷地進行以米芾為家族文化中心的活動。如米友仁尚私下為許多友人鑒定米芾作品並作跋；米芾之孫米憲（約活動於十二世紀末至十三世紀初）蒐集米芾詩文編成《寶晉山林集拾遺》，另又編纂《米氏譜》維繫家族關係；米巨㝐與其父兄持續蒐集散佚法帖，在1248年由米巨㝐刊刻為《松桂堂帖》，都是極為重要的例子。 《松桂堂帖》僅存一冊，但收有目前最完整的寶晉三帖版本與各種米芾書蹟孤本，其中有大字篆書、帶隸意之小楷等書體，補充較少見的米芾書蹟；其中各帖後的米友仁、米巨㝐跋更透露了許多珍貴的訊息。而藉由文獻考證可以對《松桂堂帖》原貌有進一步的瞭解，《松桂堂帖》原有四冊三十餘帖以上，各冊至遲在明末分開傳藏，有少部分佚散被錯裝入《英光堂帖》。其編排以格式內容為主，書寫時間為輔，但也受到各帖來源的影響。 《松桂堂帖》的米友仁與米巨㝐跋除了說明各帖書寫緣由、獲得經過與稱讚米芾書法外，更可見米友仁與米巨㝐在作跋時的家族意識。米友仁與米巨㝐藉由跋文將米芾生平與作品做連結，並略帶有鑒定意味，試圖掌握米芾詮釋權，可見米氏家族為建立家族文化、維繫傳統的努力。 米芾的書風盛行有極大部分都需歸功於幕後推手的努力，而米芾的家族後代便扮演了相當重要的角色。從米友仁開始至米憲、米巨㝐與父兄，最後到刻《松桂堂帖》的米巨㝐，再再顯示米芾家族緬想先祖之榮光，典守寶晉之遺緒的意圖與實踐。這些努力與成果在歷史中影響了世人對米芾的認知，值得關注與研究。This thesis is concentrate on the offspring of Mi Fu (1051-1107) and their efforts to preserve Mi Fu’s calligraphy and establishing family culture, particularly in Calligraphy Compendium of the Hall of Pine and Sweet Olive (Songgui Tang Tie，《松桂堂帖》), which was inscribed by Mi Fu’s great-grandson Mi Ju Rong (about late 12th century to middle 13th century). Several issues had been researched about Mi You Ren (1074-1051), Mi Fu’s eldest son, including Mi You Ren’s calligraphies and paintings, and his authenticating for the emperor Gaozong (1107-1187, r. 1127-1162). In fact, there are many other members of Mi Fu’s family engage in establishing Mi Fu as a central role in family culture. Mi You Ren authenticated Mi Fu’s works for his friends in private and left many colophons; Mi Fu’s grandson Mi Xian (active in late 12th century to early 13th century) not only collected Mi Fu’s poetry and essays to publish Supplements to Anthology of Mi Fu (Bao Jin Shan Lin Ji Shi Yi，《寶晉山林集拾遺》) but also compiled Genealogy of the Mi Family (Mi Shi Pu，《米氏譜》), tightening up relationships between family members; Mi Ju Rong and his father, along with his elder brother, gathered Mi Fu’s lost works for ages, laying the groundwork of Calligraphy Compendium of the Hall of Pine and Sweet Olive, which was inscribed by Mi Ju Rong in 1248. Only one volume of Calligraphy Compendium of the Hall of Pine and Sweet Olive remains to today. This volume includes the finest edition of Three Precious Works of the Jin Dynasty (Bao Jin San Tie，寶晉三帖) and the one and only calligraphies of Mi Fu, such as large seal script and small regular script with clerical script style, which being complements to Mi Fu’s style and calligraphies; the colophons by Mi You Ren and Mi Ju Rong also reveals many facts. By searching through literature, there were at least four volumes, more than thirty works in Calligraphy Compendium of the Hall of Pine and Sweet Olive, each volume has their own circulation after late Ming dynasty, and a few works had been mounted in Calligraphy Compendium of the Hall of Glorious Honor (Ying Guang Tang Tie，《英光堂帖》) by mistake. The arrangement of Calligraphy Compendium of the Hall of Pine and Sweet Olive is mainly by the type of script and writing, secondary by the time when the calligraphies were written, but the arrangement was influenced by the source of the calligraphies as well. The colophons by Mi You Rén and Mi Ju Rong reveal the reasons for why Mi Fu had done the calligraphies, the circulation and source of the works, and praising Mi Fu for his splendid calligraphies. Conscious of family tradition can be found in these colophons. Mi You Ren and Mi Ju Rong connect Mi Fu’s life and activities with the calligraphies through colophons, authenticating and praising Mi Fu’s calligraphies, trying to handle the explanatory authority of Mi Fu. From the colophons, Mi Fu’s family members showed their strong ambition to establish family culture and preserve cultural tradition. The widespread and popularity of Mi Fu’s style should be attribute to the endeavor of the people behind the scenes, which the offspring of Mi Fu played an important role. Starting from Mi You Ren to Mi Xian, Mi Ju Rong’s father and brother, finally to Mi Ju Rong who inscribed Calligraphy Compendium of the Hall of Pine and Sweet Olive, all of them represent their yearning for the former glory of Mi Fu, and the practice and ambition to preserving Mi Fu and his Bao-Jin heritage. The endeavors and fruitful results influence how people recognize Mi Fu in the history, which deserve to be researched and pay attention to.謝辭 i 摘要 v Abstract vii 目錄 1 圖版目錄 4 表格目錄 9 緒論 11 研究動機與目的 11 研究回顧 13 第一章 米芾家族世系與曾孫米巨㝐 17 第一節 米芾家族世系 17 一、米芾的先祖 20 二、米芾父母親：米光輔與閻氏 26 三、米芾兒女：米友仁、米友知與女兒、女婿 32 四、米芾孫輩：米憲與其《寶晉山林集拾遺》 44 五、米芾曾孫輩與其他家族成員 50 第二節 衣缽傳承：米友仁與米友知 57 一、米友仁的書畫 57 二、米友仁的鑒定與題跋 60 三、米友知的相關記錄 80 第三節 米巨㝐身世與其書風 82 一、米巨㝐的生平 82 二、米巨㝐的書風 87 第二章 《松桂堂帖》的基本問題考證 89 第一節 《松桂堂帖》的名稱 89 第二節 《松桂堂帖》的刻帖時間與背景 91 第三節 北京故宮博物院藏本《松桂堂帖》的傳藏 97 一、《松桂堂帖》中的題跋 97 二、《松桂堂帖》中的印鑑 101 第三章 現存《松桂堂帖》中的米芾書法 110 第一節 米芾題額大字：〈寶晉篆額〉與〈海岳帖〉 110 一、〈寶晉篆額〉 110 二、〈海岳帖〉 113 第二節 米芾與寶晉三帖 115 一、謝安〈八月五日帖〉 116 二、王羲之〈王略帖〉 120 三、王獻之〈十二月割帖〉 125 第三節 米芾小楷：〈壯觀賦〉、〈嘉興縣君錢氏墓誌〉與〈淨名五律〉 130 一、〈壯觀賦〉 131 二、〈嘉興縣君錢氏墓誌〉 135 三、〈淨名五律〉 138 第四節 米芾行草：〈淨名齋記〉與〈參賦〉 140 一、〈淨名齋記〉 140 二、〈參賦〉 151 第四章 已佚之《松桂堂帖》帖目與考證 156 第一節 《松桂堂帖》在文獻中的記錄 156 一、汪由敦與乾隆內府本 156 二、翁方綱《復初齋文集》 161 三、程文榮《南邨帖考》 164 四、蔣光煦《東湖叢記》 166 第二節 文獻記載中的《松桂堂帖》作品考證 172 一、汪由敦與乾隆內府本《松桂堂帖》帖目 172 二、翁方綱《復初齋文集》中所疑非《英光堂帖》之帖 184 三、程文榮《南邨帖考》中所記之帖 191 四、其他散佚單帖 199 第三節 《松桂堂帖》可能之原貌 205 一、各冊帖目與基本資料 205 二、《松桂堂帖》的編排邏輯 211 結論 214 參考書目 219 傳統文獻 219 近人著作 229 圖版 237 圖版出處 277 附錄：《松桂堂帖》可考之內容與跋全文 293116115914 bytesapplication/pdf論文公開時間：2016/09/10論文使用權限：同意有償授權(權利金給回饋學校)米芾家族米巨㝐松桂堂帖家族文化傳承法帖考證thesishttp://ntur.lib.ntu.edu.tw/bitstream/246246/264507/1/ntu-103-R00141005-1.pdf