中國歷代繪畫大系：一部藝術(shù)文化史的“百科全書”

徐露路

賡續(xù)傳統(tǒng)文化之魅，賦予其現(xiàn)代化之魂。

在浙江大學(xué)西溪校區(qū)的展廳里，陳列著裝幀精美的“中國歷代繪畫大系”，歷代中國古代繪畫以前所未有的清晰與精美的姿態(tài)在皇皇巨著上重現(xiàn)。

這是一份為中國藝術(shù)研究者提供的饕餮大餐，透過這些優(yōu)秀作品，我們可以看到歷代書畫藝術(shù)特色，看到古人生活以及生活中的場景、陳設(shè)、造物活動等。

一幅幅精妙絕倫的古畫令參觀者們紛紛駐足流連。這次精品巡展不僅開拓了參觀者的專業(yè)視野，也讓大眾深刻了解了中國名畫背后的故事以及繪畫藝術(shù)的魅力。

中國歷代繪畫大系作為之江藝術(shù)長廊中的核心內(nèi)容之一，其精品巡展正面向全國展開，讓大家看見了充滿中華優(yōu)秀傳統(tǒng)文化氣息的書畫中國。

下一步，“中國歷代繪畫大系”將力爭成為浙江新時代全面展示中國特色社會主義制度優(yōu)越性的重要窗口和高質(zhì)量發(fā)展建設(shè)共同富裕示范區(qū)的一顆“明珠”，成為浙江省委、省政府著力打造的之江藝術(shù)長廊的核心內(nèi)容之一。

一部圖像文獻(xiàn)集大成之作

中國是世界文明古國，有著輝煌燦爛的優(yōu)秀傳統(tǒng)文化。其歷代繪畫則寄托著中華民族的精神追求和美好夢想，是中華民族與全人類的共同精神財富。系統(tǒng)、全面地搜集、整理、研究、出版中國歷代繪畫精品，成為搶救性保護(hù)和普及性傳播中國歷代繪畫藝術(shù)的當(dāng)務(wù)之急。

2005年，由浙江大學(xué)、浙江省文物局負(fù)責(zé)編撰的“中國歷代繪畫大系”項(xiàng)目獲批。這是一項(xiàng)規(guī)模浩大、縱貫歷史、橫跨中外的國家級重大文化工程。

項(xiàng)目首次在全世界范圍內(nèi)對現(xiàn)存自先秦至清代的紙、絹（含帛、綾）、麻質(zhì)地的中國歷代繪畫作品，在全面系統(tǒng)的調(diào)查、整理、考證基礎(chǔ)上編纂出版。項(xiàng)目共收錄了海內(nèi)外260余家文博機(jī)構(gòu)的紙、絹（含帛、綾）、麻等材質(zhì)的中國繪畫藏品12250余件（套），其中國內(nèi)藏品9000余件（套）、國外藏品3250余件（套），拍攝高精度底片共2.3萬余張，涵蓋了絕大部分傳世的“國寶”級繪畫珍品;工程先后編纂出版《先秦漢唐畫全集》《宋畫全集》《元畫全集》《明畫全集》《清畫全集》共計62卷230余冊，參與撰稿者達(dá)500余人。它是迄今為止同類出版物中藏品收錄最全、圖像記錄最真、印制質(zhì)量最精、出版規(guī)模最大的中國繪畫圖像文獻(xiàn)。

專家表示，“中國歷代繪畫大系”是目前全球范圍內(nèi)最大限度還原中國古代繪畫神韻的高精度、大開本圖像文獻(xiàn)集成。這部巨冊入編作品豐富，畫面精美，題跋、印章清晰，集鑒賞性、學(xué)術(shù)性、收藏性于一體，為欣賞中國古代繪畫，厘清其真?zhèn)魏土鱾魈峁┝饲逦?quán)威的傳世圖像，是目前研究中國藝術(shù)史和文化史的“百科全書”。

一段十?dāng)?shù)載的編纂歷程

歷經(jīng)千年滄桑、流散世界各處的中國古代繪畫，匯聚成冊，重炫亮色，這是《中國歷代繪畫大系》所創(chuàng)造的盛景。

如此浩大的工程背后是無數(shù)工作人員的努力。在浙江大學(xué)出版社“中國歷代繪畫大系”編纂出版辦公室和圖像制作室，編纂人員經(jīng)年累月默默努力著，十四載寒來暑往，“中國歷代繪畫大系”入編的1.1萬余件作品中，每件都有千回百轉(zhuǎn)的故事;每一張圖甚至一張圖的某個局部或細(xì)節(jié)，與相關(guān)方來來回回溝通，在“大系”編纂的十幾年中早已司空見慣。

“大系”入編的作品中，藏于國內(nèi)的約有8600件，除了博物館新入藏的，以及各種原因未經(jīng)中國古代書畫鑒定組鑒定的極少數(shù)作品之外，每件作品均能在《中國古代書畫目錄》《中國古代書畫圖目》中找到，都被定為真跡，有不少還被定為“佳作”和精品。藏于國外的約有3000件，許多作品第一次以高清質(zhì)量入編畫冊，不少作品流傳有序，經(jīng)過了國內(nèi)外很多專家的鑒定。其中來自敦煌藏經(jīng)洞的作品是大英博物館和俄羅斯艾爾米塔什博物館為“大系”重拍的。

打滿9頁紙的表格，記錄的是“大系”收錄作品涉及的200余家國內(nèi)外文博機(jī)構(gòu)的名單。這背后，是編纂團(tuán)隊(duì)十余年來從不間斷、踏遍萬水千山的尋找。在日本，拍攝團(tuán)隊(duì)經(jīng)歷過地震、超強(qiáng)臺風(fēng)，還有人受過傷。在美國，負(fù)責(zé)采集圖像資源的同事，一干就是十來年。在德國，“大系”項(xiàng)目組趕在柏林國家博物館亞洲藝術(shù)館長達(dá)4年的閉館修建之前，成功取得了拍攝許可。在俄羅斯，項(xiàng)目組曾求助過上海經(jīng)合組織相關(guān)負(fù)責(zé)人，也求教過當(dāng)年留蘇學(xué)畫、現(xiàn)已白發(fā)蒼蒼的老先生，如肖峰、邵大箴等，終于在去年敲定了與艾爾米塔什博物館的合作事宜，才有了盼望已久、按照標(biāo)準(zhǔn)重拍的西夏黑水城204件高清圖像。

一路傳承的傳統(tǒng)文明

為了不斷提升“大系”的學(xué)術(shù)價值，根據(jù)編纂要求，《先秦漢唐畫全集》《明畫全集》和《清畫全集》，每一卷都要有一篇約兩萬字的概述，介紹相關(guān)畫派或重要名家，同時入編的重要繪畫作品還必須配有說明。

打開《先秦漢唐畫全集》，“傳世作品”卷1.9萬余字的概述，詳細(xì)論述了漢唐人物畫、漢唐山水畫的特色，涉及國內(nèi)外參考資料達(dá)80余處，其專業(yè)性和嚴(yán)謹(jǐn)性可見一斑。

編纂工作需要與眾多學(xué)者、作者進(jìn)行溝通，《明畫全集》是由40多位作者參與，共同完成兩卷500余件繪畫中逾三分之一作品的圖版說明。而每一個出現(xiàn)在“大系”中的畫家，原則上都要求有生平介紹，其中許多畫家在畫史上未有記載或記載簡略，此前也從未被認(rèn)真研究過，因此作品說明的撰寫者往往需要花費(fèi)大量的時間去梳理畫史，查閱相關(guān)資料。

比如明代宮廷畫家周全的《獅子圖》，涉及到畫家本身的資料非常少，過去只在正德年間的《圖繪寶鑒續(xù)編》上提到過5個字“周全，工畫馬”，流傳至今的作品也只有兩幅。經(jīng)過一系列細(xì)致的研究推算，才逐漸判斷出作品的大致年份。

即使是一些研究較多的知名畫家，由于“大系”要求其作品大致以時間為序排列，因此大量未明確創(chuàng)作時間的作品也需要通過題跋、印章、畫風(fēng)等來綜合考證，判斷其大致創(chuàng)作時間，這實(shí)際上也是對相關(guān)作品的進(jìn)一步梳理、研究。

如今，全世界的藝術(shù)愛好者都可以通過“中國歷代繪畫大系”，鑒賞迄今為止最為清晰、代表中國古代繪畫最高水平的畫作，感悟中國五千年傳統(tǒng)文明的真善美，并一路傳承。

正如編纂工作相關(guān)負(fù)責(zé)人所說：“中國古人著書立說，最大的愿望就是藏諸名山傳之后世。也許將來，有人會因?yàn)榭吹綍锏哪骋粡埉嫞屯蝗粣凵狭酥袊??！?/p>

Great Series of Ancient Chinese Paintings：

An “Encyclopedia” of Art and Culture History

By Xu Lulu

In a traditional hall at Huzhou University， an exhibition was going on： collections of the Series of Ancient Chinese Paintings were on display， the exquisitely printed and bound books showing ancient Chinese paintings in the finest details. Not only paintings， calligraphy and arts， but how the ancients went about their life， the scenes of life and their daily activities can all be gleaned through the collections. One by one， visitors at the exhibition were invariably mesmerized by the stunning ancient paintings， which oozed with aesthetic appeal， as well as the stories behind these paintings.

As one of the key projects in the Zhijiang Art Corridor， the Great Series of Ancient Chinese Paintings is on a national exhibition tour， and the exhibition at Huzhou University， running from June 22 to July 9， was the first stop. In the next few months， exhibitions will be held in major cities across the country.

As an ancient civilization with a splendid and continuous traditional culture， China is known for its numerous painters born over the past tens of centuries. The paintings they created embody the spiritual pursuit and the dreams of the Chinese nation and they are the treasures of both China and all mankind， which should be made accessible to everybody and shared with the world. Therefore， systematic and comprehensive collection， collation， research and publication of the finest works of Chinese paintings have long been called for to better protect and popularize these paintings.

In 2005， the project， entitled “the Great Series of Ancient Chinese Paintings”， to collect and compile ancient Chinese paintings jointly by Zhejiang University and Zhejiang Provincial Administration of Cultural Heritage was formally approved， signaling the start of a large-scale and long-term national cultural endeavor that spans several continents.

For the first time， surviving Chinese paintings across the world painted on paper， silk and hemp from pre-Qin （221-207 BC） period to the Qing dynasty （1616-1911） were collated and published on the basis of comprehensive and systematic investigation， and textual research. In all， a total of 12，250 pieces （sets） of paintings from more than 260 cultural institutions and museums have been collected. Of these pieces （sets）， some 9，000 are from domestic collections while the rest （3，250） are from foreign collections. In addition， in excess of 23，000 high-resolution photos have been taken of the original paintings， covering the vast majority of works that are deemed Chinas “national treasures”. Thus far， 62 sets of collections in more than 230 volumes have been published， including the Complete Collections of Paintings of the Pre-Qin Period， and the Han and Tang Dynasties， Complete Collections of Paintings of the Song Dynasty， Complete Collections of Paintings of the Yuan Dynasty， Complete Collections of Paintings of the Ming Dynasty and Complete Collections of Paintings of the Qing Dynasty.

In total， 500-odd experts and scholars have contributed to these publications， which are the largest and the most complete collections of Chinese paintings， with the most authentic images and the best printing. With a few rare exceptions， almost all the authentic ancient Chinese paintings in China that are listed in the Catalogue of Selected Works of Ancient Chinese Painting and Calligraphy and the Illustrated Catalogue of Selected Works of Ancient Chinese Painting and Calligraphy， the two most authoritative catalogues of its kind， have been photographed and collected in the publications. Of the 3，250 pieces （sets） of paintings collected from foreign institutions and museums， most have been printed in high-quality images into an album for the first time.

Indeed， the “Great Series”， as both the project and the publications are commonly referred to， is now itself considered one of the most authoritative collections on Chinese paintings — an “encyclopedia” to turn to for the research on Chinese art history and culture history.

These paintings， scattered around the world， are finally being gathered together after undergoing the vicissitudes of seasons for thousands of years， and regaining their shining glories of past. This is what the “Great Series” intended to achieve at the outset， and underlying such an accomplishment are the efforts of innumerable people. In the editorial and image-processing offices of the “Great Series” project at Zhejiang University Press， staff members have toiled day and night for the past decade and a half： behind each work collected in the “Great Series” are stories with many twists and turns; endless back and forth with relevant parties concerning a single image or details of an image has become the norm rather than the exception. In Japan， the photographing team encountered strong earthquakes and had to brave typhoons， and several members even sustained injuries in the process of getting the best images. In the US， those in charge of collecting image resources dug in and have stayed in their positions since the project commenced 15 years ago. In Germany， the photographing team successfully obtained permission from the Museum of Asian Art in Berlin， before it was closed for a four-year renovation. And in Russia， the “Great Series” project team asked for help from officials of the Shanghai Cooperation Organizations and prestigious Chinese artists such as Xiao Feng and Shao Dazhen， who once studies in the Soviet Union， before some 204 high-quality images could be taken of the art works collected at the State Hermitage Museum of Khara-Khoto （or Black City） of the Western Xia （1038-1227）.

The high-resolution images of these ancient Chinese paintings have undoubtedly enhanced the quality， the desirability and the collectability of the series. On the other hand， the introduction to each volume has greatly increased its scholarly value. About of 20，000 words in length， these introductions serve as an overview on the paintings and painters mentioned in the volume， as well as the historical， political， social and economic contexts that they were born. For example， the introduction to the Complete Collections of Paintings of the Pre-Qin Period， and the Han and Tang Dynasties cited over 80 references and systematically examined the features of the portrait and landscape paintings， showing the academic rigor of the research.

Now， art lovers from all over the world are able to appreciate the best ancient Chinese paintings through the series， enjoy the beauty of Chinas 5，000-year-old civilization and pass it down to future generations.