臺灣博碩士論文加值系統

扇子的起源甚早，從戰國楚墓與西漢馬王堆古墓所挖掘的竹扇，以及歷代流傳畫蹟可知，扇子的發展與演變，源遠流長。 紈扇的使用歷史較早，唐宋詩詞或相關文獻中提到紈扇之處，俯拾皆是，但折扇卻晚至明中期之後才漸盛行，吳門四大家沈周、文徵明、唐寅、仇英均為扇畫高手，傳世之扇面不在少數，足見當時折扇之流行。 有清一代，折扇益為風行，無論內廷畫師或民間文人畫家無不擅長此道，影響所及，各種材料的扇面與扇骨，推陳出新，蔚成大觀。 民國肇建，藝文界承襲清代餘風，折扇之流行方興未艾，北方之齊白石、王雪濤、金城、劉奎齡、陳少梅，海派以吳昌碩為首之諸家，嶺南之高劍父、高奇峰、陳樹人三傑，乃至稍後之吳湖帆、張大千、溥儒等藝壇巨擘與彼等眾多得意門生，以及許多梨園名角也都鍾情此道，扇畫承繼可謂不乏其人。 惟至一九四九年之後，由於生活形態之變遷、西風東漸之影響、藝壇風氣之轉移等諸多因素，扇畫乃由盛轉衰，不復成為國畫形式之主流，然而，近年在中國大陸及香港拍賣會等藝術市場，成扇屢創佳績，扇畫之存在，再度受到矚目，而利之所趨，魚目混珠之偽作亦充斥於市，如何鑑別真偽優劣，乃成為重要課題。 　民國肇建以來，扇畫的主要成就，係在折扇方面，唐宋時流行的紈扇，僅流於陪襯。而折扇在扇骨之製作及雕刻，名家備出，爰參考各家說法，將活躍於二十世紀前半世紀的刻扇名家，作一整理。至於民國以來之畫扇名家，也多方蒐羅，並比對相關藝術書籍與拍賣會目錄，以彼等出生紀年之先後為序，製成附表，以便查考。　　折扇就實體結構而言，當可略分為扇骨與扇面兩大部分。扇骨之種類，除湘妃竹、梅鹿竹等名貴竹材之外，舉凡象牙、玳瑁、紫檀、雞翅木、黃楊木、紅木、檀香木等等，皆可利用。陰刻、陽刻、留青、透雕、髹漆等各類技法，爭奇鬥艷，不一而足，本研究乃將各種扇骨裝飾技法，並列一處，藉供分析比較。　　就扇面之材料而言，明朝書畫家常用金箋，入民國之後，素紙當道，金箋雖然不再成為扇畫材料之主流，但泥金、混金、灑金、冷金、片金、屑金等，各種金箋扇面堪稱齊備，由於各家說法與分類也稍有出入，乃加整理釐清，以利比較。　　扇畫之創作，不僅是繪畫一個面向而已，而是結合詩詞、書法、篆刻之綜合藝術，故折扇之可觀可貴處，亦在多個面向，因而款識之位置與內容，有時甚至成為攸關一幅扇畫成敗之關鍵因素。扇畫落款之方式，至少可歸納為十六種，常見者亦有七種之多，為求一目了然，此一部分亦特加以製表供參。　　民國折扇，在扇骨與扇面材料之製作或表現技法方面，或無超越前人之處，但至少有以下數項特色，頗值注意：（一）集錦扇之盛行：亦即在表現形式上，一頁扇面上分成四格或八格，往往是一格灑金，一格素面，書法與繪畫交錯，相互輝映。（二）合作畫之增多：折扇尺幅本來有限，一字一畫之形式，若是由不同之書畫家完成，已有合作之意味，而集錦扇面之出現，更進一步促成藝術家之攜手，而這跟民國以後各種書畫團體之陸續成立，增加書畫家交流機會，亦不無關係。（三）梨園扇之出現：民國早期，梨園中人流行寫字畫畫，梅蘭芳就先後跟齊白石、王夢白、姚茫父等多人學畫，其他名角如姜妙香、程硯秋、尚小雲、荀慧生、俞振飛、王瑤琴、馬連良、言菊朋、黃桂秋等，無不是寫扇高手。梨園扇之名乃不逕而走。　　談到折扇之收藏，除臚列各種藏扇之方式外，亦對一般收藏者所經常忽視的問題，如收藏空間之溫度、濕度、空氣、光照、生物因素（黴菌等），有所觸及，以點出收藏環境之重要。　　最後，本研究對扇畫之作偽及鑑識問題，亦多所著墨，不但列舉一般折扇作偽之種種習見之方式與陷阱，亦不揣簡陋，提出提高折扇鑑識能力之具體建議。

English AbstractActually fans originate very early in Chinese history. From those bamboo fans found in the tombs of the War-Period and the West-Han dynasties, as well as those Chinese antique paintings, we know the developments and changes of Chinese fans can be traced back to a long time ago. But, the usage of round fans has a longer history. In the poems and essays of the Tang and Song dynasties, as well as the related documentary materials, round fans have been mentioned numerous times. However, folding fans became popular only after the Ming Dynasty. All of the four great artists of the Soochow School, Shen Thou, Wen Tzeng-ming, Tang Yin, Qiu Ying in the Ming, were the experts of fan paintings. Many fan works accomplished by them could be still found today. In the Ching Dynasty, folding fans became much more popular. Almost all artists, including royal or civil painters, were good at this kind of creative job. Because of their influence, various kinds of fan papers and fan bones were continuously renovated. New forms of fans were so prevailing in the market afterwards. When the Republic was founded, the modes and styles of Chinese art were also succeeded. Folding fans were even more popular in the art society. The famous painters in the northern China such as Qi Bai-shi, Wang Xue-tao, Jin Cheng, Liu Kui-ling, Chen Shao-mei, Wu Chang-shuo and other artists in Shanghai area, and those masters of the Lin-nan School Gao Jian-fu, Gao Qi-feng and Chen Shu-jen were all both interested in and good at fan paintings. The later artists such as Wu Hu-fan, Zhang Da-qian, Pu Ru, and those renowned actors in Chinese opera could also grasp the nuances of fan paintings. The heritage and traditions of fan paintings were therefore kept well without any disruptions. Since 1949, because of the change of life style, the influence of western culture and the transfer of art trends, fan painting was on the wane. It was no more the main form of art. However, the Mainland China’s and Hong Kong’s art markets in recent years showed that the fan paintings were so welcome and could even break the records of hammer price. Fan paintings indeed attracted the attention of art markets again. Oriented by profits, fake fan paintings appeared constantly in auctions and some other art markets. Thus the means and methods of judging and evaluating fan paintings become much more important than ever. After the founding of the Republic, the main achievement about fan art has lied in the folding fans. And round fans, once popular in the Tang and Song dynasties, have become secondary in terms of art forms. Since so many outstanding artists found in the field of the fan production and bone carving of the folding fans, a list of the active bone carvers in the first part of 20th century was made herewith for reference. As an appendix, after a careful checking with the related art books and auction catalogues, another list of the artists painting fans was also prepared orderly by their birth years. In terms of the structure of folding fans, fan papers and fan bones are the two main parts of folding fans. Other than those precious bamboo materials such as Shan-fei and Mei-loo, ivory, tortoiseshell, some high quality woods can be also used for the fan bones. Different skills of carving were applied to fan bones. Those skills were mentioned respectively for comparison and analysis. With regard to fan papers, gold leaves were often used in the Ming Dynasty. In the era of the Republic, though gold leaves were no longer popular, all these related products such as mud-gold, body-gold, spot-gold, cold-gold, piece-gold, rain-gold could be widely seen in paper shops. Since so many scholars with various views on this aspect, a clarification is not only essential but also necessary to be made in this paper for your easy reference. The creative work of fan paintings, however, has not only one face for appreciation, while poems, calligraphy and seals have also playing a role. The positions and contents of the artists’ signatures and relevant wordings in folding fans are also crucial for making a successful visual expression and impression. There are at least more than sixteen ways of doing it and seven of them can be often found in fan paintings. A list of such was made for your information. Strictly speaking, no big improvements in the fields of the fan material production or skills of visual language were made in the Republic period. But the following respects worth your notice:1. The appearance of colllective fans: usually there are four or eight parts of a piece of fan paper divided equally both for painting and calligraphy.2. The increase of collaborated fan paintings: fan painting’s space is quite limited. In fact, the form of one painting matching with one calligraphy has already demonstrated a kind of cooperation. The appearance of collective fans has further fostered the joint efforts of fan artists, which could be attributed to the increase of art groups after the founding of the Republic. 3. The emerge of opera fans: in the beginning of the Republic era, the actors of the opera companies were used to learn Chinese ink painting with famous artists such as Qi Bai-shi, Wang Xue-tao, Wang Meng-bai, Yao Mong-fu, etc. Among those opera actors Jeng Miao-shan, Chen Yen-chiu, Shan Shao-yun, Shun Hui-sen, Yu Tzen-fei, Ma Lien-lan, Yen Ju-peng, Hwang Kui-qiu were found very good at fan paintings. The name of opera fans therefore became more famous.Talking about the collecting folding fans, various methods of keeping Chinese fans are listed. The problems for collection room as temperature, humidity, moisture, sunlight, and biological factors are also discussed for the purpose of highlighting the importance of environments. Finally, not only the problems of fake fan painting and the methods of judging them are discussed but how to increase the ability of appreciating fans are also suggested.

論文目錄
第一章：緒論
1-1 研究目的與動機
1-2 研究範圍與方法
第二章：折扇的緣起
第三章：折扇的扇面材料
第四章：折扇扇骨的規格與款式
4-1 扇骨的檔數
4-2 扇骨的長度
第五章：扇骨的雕刻與裝飾
第六章：折扇扇面的構圖與表現方式
6-1 扇面的書法形式
6-2 扇面繪畫的款識章法
6-3 扇畫創作的注意事項
第七章：扇端的裝飾與商標（簽條）
7-1 扇頭形式
7-2 扇釘及其裝飾
7-3 扇面的商標（簽條）
第八章：民國重要刻扇竹人
第九章：民國扇畫創作名家點將
第十章：折扇的收藏與保存
10-1 收藏折扇的動機
10-2 收藏折扇的考慮因素
10-3 折扇的保管方式
10-4 折扇的維護環境
第十一章：民國扇畫作偽與鑑別
11-1 扇畫作偽之時期及趨勢
11-2 成扇作偽之常見手法
11-3 鑑別扇畫真偽之方法
第十二章：結語
附錄：民國扇畫名家一覽表

主要參考書目
1、王世襄，《竹刻鑑賞》，台北，台灣先智出版事業股份有限公司，1997年。
2、王志維，《中國書畫用紙淺談》，北京，世界知識出版社，1990年。
3、白文貴，《蕉窗話扇》，太原，山西古籍出版社，1996年。
4、朱念慈，《中國扇面珍賞》，上海，上海科學出版社，1999年。
5、李霖燦，《藝術欣賞與人生》，台北，雄獅圖書股份有限公司，1984年。
6、阮榮春等，《中國近代美術史》，台北，臺灣商務印書館， 1997年。
7、包銘新，《扇子鑑賞與收藏》，上海，上海書店出版社，1996年。
8、包銘新，《藏扇筆談》，上海，上海科學技術出版社， 2001年。
9、胡佩衡等，《齊白石畫法與欣賞》，北京，人民美術出版社，1992年。
10、姜維群，《扇骨的鑑賞與收藏》，天津，百花文藝出版社，2002年。
11、張科等，《江南扇藝》，杭州，浙江攝影出版社，2003年。
12、徐建融，《書畫形制與投資對象》，上海，上海書畫出版社，1997年。
13、高伯雨，《聽雨樓隨筆》，瀋陽，遼寧教育出版社，1998年。
14、許志浩，《海上畫派書畫鑑賞與拍賣行情》，上海，上海科學技術文獻出版社，1999年。
15、張偉生，《怎樣寫扇面》，上海，上海書畫出版社，2000年。
16 莊申，《扇子與中國文化》，台北，東大圖書公司，1992年。
17、陳德富，《中國書畫鑑定基礎》，成都，四川大學出版社，1994年。
18、郭傳火，《扇面珍藏》，瀋陽，遼寧畫報出版社， 2003年。
19、黃光男，《扇的藝術》，台北，國立歷史博物館，1996年。
20、黃鼎，《我說書畫作偽》，杭州，浙江攝影出版社，2003年。
21、楊才玉，《藏界論壇，西安，西北大學出版社，1999年。
22、趙成玉等，《扇子趣話》，太原，山西教育出版社，1987年。
23、劉藍玉譯，《藏品維護手冊》，台北，五觀藝術管理有限公司，2001年。
24、鄭午昌，《中國畫學全史》，台北，臺灣中華書局， 1982年。
25、褚德彞，《竹人續錄》，香港，神州圖書公司。
26、魯力，《扇面書畫》，山東，山東科學技術出版社， 2000年。
27、錢公零麟，《扇子》，上海，上海人民美術出版社，1998年。
28、錢松喦，《錢松喦畫語》，上海，上海人民美術出版社，1997年。
主要參考期刊、拍賣目錄
1、張育之，＜輕拂清風際，細賞書畫時－－扇面書畫欣賞＞，名家翰墨，第八期，1990年
2、上海崇源2003春季藝術品拍賣會「百年成扇」專拍目錄 。
3、上海崇源2002首次大型藝術品拍賣會「扇頁、楹聯」專拍目錄。
4、朵雲軒 ’96 春季中國藝術品拍賣會「扇畫」專拍目錄。
5、敬華2002年秋季拍賣會「中國扇面」專拍目錄。
6、翰海2004春季拍賣會中國書畫「競爽堂藏扇」專拍目錄。