Page 223 - 艺林藻鉴—古代书画

ch’ang”（ 《“董其昌的世纪”展览作品用印分析》）中有明 National Palace Museum,Taipe(Ku-kung li-tai fa-shu chüan-
确的分析。兹原文引用和翻译如下： chi, vol. 2,p. 123; vol. g, p. 46; Ku-kung shu-hua lu, rev. ed.
196s,vol.3,ch.s,p. zo; vol.4,ch.6,p.35).Two others of interest
By 1607 Tung had begun to use a seal with the Chih chih- are his colophon on a handscroll by Tai Chin entitled Spring
kao jih-chiang kuan legend (no.13) together with a seal reading Clouds at Ling-ku(Ling-ku chunyün)-now in the Museum
Tung Ch’i-ch’ang yin (no.14),and this pair <13,14> fast für Ostasiatische Kunst,Berlin-where again only the single
became his favorite: he was to use these two seals with great seal appears (Suzuki Kei,Chugoku kaiga sogo zuroku,1982-
frequency over the next few years, almost always in tandem 83,vol.2,EI8-032); and his inscription on the left-hand
(in which case the office seal is invariably placed first),though mounting of the hanging scroll attributed to Mi Fu-now in the
occasionally the seal reading Tung Ch’i-ch’ang yin appears Freer Gallery-that Tung named the Yün-chi lou t’u after the
alone. The two seals are paired on three works in the present studio belonging to his friend Wu Cheng-chih, to whom Tung
exhibition, ranging in date over a period of six years: on presented the painting(see“Tung Chi ch'ang's Life,” part
Running Script in the Manner of the Four Sung Masters, dated 4 and note 273).On all six of these colophons or inscriptions,
1607(<13,14>), the earliest dated work known to me on which the seals show greater wear than does the pair <13,14> on
the pair appears; on Paintings and Calligraphy on Round Fans, Running Script in the Manner ofthe Four Sung Masters,dated
dated 1610(<16,17>); and following his colophon of 1613 on 1607,in the present exhibition; and in every case Tung’s
Invitation to Reclusion at Ching-bsi (<19,2o>). So great is the signature is consistent with a date before 1616. Thus all six can
deterioration in the two seals, particularly in the seal reading be dated to the period 1607-I5, some earlier, like his inscription
Tung Tung Ch’i-ch’ang yin,that the identity of the three pairs on Forest Grotto, where the seals show relatively little wear,
<13,14>/<16,17>/<19,20> would be difficult to establish were some later,like his colophon on the Liu Chung-shih t’ieh,
it not that the pair appears so often on Tung's works, in varying where the single seal shows marked deterioration.
stages of wear. Whether no. 10-the seal reading Chib chib-
kao jih-chiang kuan on Tungs Calligraphy of 1603-is identical
to no. 13-the seal with the same legend on his Running Script
of1607-is open to question, however;though very similar, there
are dif ferences enough to render their identity problematical,
and there is no dated example of either seal in the intervening
period.
The latest dated instance of the pair <13,14>/<16,17>/<19,20>
译文如下：
that l have so far discovered follows an inscription by Tung
到1607年，“知制诰日讲官”印（第13号印）和“董其昌
dated the sev- enth month, 1615, on a hanging scroll by Tang
印”（第14号印）开始配对使用，并很快得到董其昌的垂青，
Yin entitled Viewing an Apricot Tree (Kuan-hsing t'u), now in
随后数年中两印几乎形影不离，且“知制诰日讲官”通常钤在
the Suzhou Museum (Su-chou po-wu-kuan ts’ang-bua
“董其昌印”之前，极少见单钤“董其昌印”的。本展有三件作
chi, 1963, pl.I4).Since by 1617,at the latest Tung was to adopt
品上钤此两印，其时间跨度达六年之久：1607年作《行书临宋
another pair of seals (<64,65>,entry XVI) that seems to have
四家》（13、14号印，这是据我所知最早钤该对印的），1610
been executed in conscious imitation of the pair here, in seems
年作《书画圆光》（16、17号印），1613年作《荆溪招隐》跋
possible that the earlier pair was lost when Tung’s house
（19、20号印）。这两方章使用太多，损坏日甚，特别是“董其
was de stroyed in the third month of 1616 (see “Tung Ch’i-
昌印”，很难判定这三对印（13/14、16/17、19/20）就是同一
ch'ang's Life,” par4).Provisionally,then, the third month of
对对章在不同时期、不同损耗情况下出现于不同的董其昌作品上
1616 may be taken as the terminus ad quem for the pair under
而已。董其昌1603年作《书法》上的第10号印与1607年作《行
discussion here.
书》上的第13号印印文都是“知制诰日讲官”，虽然两印看起来
Many of Tung’s colophons or inscriptions to which he
极为相似，但此前已有人公开宣称，它们之间的不同实在令人狐
appends this pair of seals are undated, some of the more
疑，无法将它们确认为同一方章；而在作于1603年至1607年之
important being his in scription on the shih-t’ang(“poetry
间、没有明确系年的作品中，这两方印都没有出现过。
hall,”a paper mounted above the painting on a hanging scroll
迄今为止，我发现的最晚钤用13/14号对印、16/17号对印
to receive an inscription) of Wang Meng’s Forest Grotto at
和19/20号对印的是董其昌1615年7月题唐寅《观杏图卷》的跋
Chü-ch’ü (Chü-ch’ü lin-shih); the second of his three
文，是图现藏苏州博物馆（《苏州博物馆藏画集》图版14，1963
colophons on Mi Fu's famous Shu-su t’eh;his colophon on
年）。而到了1617年，董其昌则开始钤用另一对章（64/65，见
Yen Chen-ch’ing’s Liu Chung-shih t’ieh (where he uses
XVI组）。1616年3月，董宅被毁（见《董其昌的一生》第4部
only the seal read ing Tung Chi-chang yin); and the first of his
分），估计原对印亦毁于一旦，董其昌乃因此着意复刻一过，即
two inscriptions on Shen Chou's album after Ni Tsan(Fang Ni
得64/65号对印。因此，不妨暂时认定董其昌最早使用64/65号对
Tsan pi-i)-all four of these works being in the collection of the
印是在1616年3月。