古书画在当代社会的角色发展

　　过云楼所藏的名画《秋山晓霁图》，清·王时敏作，172.2×82.8(厘米)，顾氏后人捐赠苏州博物馆

　　古人的手迹流传到今天，包含着无数信息，鉴赏不单要有知识，更重要的是体验。

　　郑重：最近，我一直在研究苏州过云楼家族的收藏史，他们一代人接一代人收藏古书画，前后延续了六代人，真是文化史的奇迹。顾家对古书画的兴趣，怎么会延续这么久？其他人家，为什么一两代人之后，就不再感兴趣了？　现藏在苏州博物馆顾文彬写给他的三儿子顾承的一批信札，信中详细地讲述了家藏的书画，分别应该如何看待，优点是什么，缺点又是什么，谈得非常具体。我看到这封信才感到，家庭内部不断讨论书画，可能是家族收藏延续的秘密。过去我在写作中，“家庭影响”是一直没有触碰的问题，但是如果要文化振兴，恐怕要在家庭内部教育上，给予鼓励，这可能比社会教育更有成效。

　　刘九洲：从家庭这个角度讲收藏，我也是深有体会。我7岁开始写字，就是在我爷爷的引导下开始的，当时他还带我去选购砚台，回家还用墨锭试磨，还说墨锭里有沙子，那个印象非常深刻。要培养书画的兴趣，需要有人在耳边一直念叨。

　　郑重：过去一些书画名家，他们私下教学生时候，也不是正襟危坐地教，而会说：“平时你来一起玩吧！”一起玩，就是教你了。古人常常强调私淑弟子，是有道理的。古书画的欣赏，是一个思接千载的过程，有时候不是那么系统地出现知识点，而是遇到一点，交流一点。古人的手迹流传到今天，包含着无数信息，鉴赏不只是要有知识，更重要的是体验，如果你的知识和体验，遇到了古人的眼神，那就是读懂了，就会感觉非常亲切。当然，古书画也不可能为所有人喜欢，最终是一部分人喜欢。但是有一部分人喜欢，就非常了不起了。

　　只有拥有了足够多、足够优秀的收藏家，才可能保护住古书画的价格；只有保护住了价格，全社会才会重视古书画

　　刘九洲：谈到古代收藏家，就不能不谈到当代的收藏家，您对当代古书画收藏家这个群体，怎么看？

　　郑重：私人收藏家很重要，从近几十年的情况来看，他们在书画市场价格不高的时候，参与收藏，随着经济的发展，古书画价格也随之上升，直到出现目前超越我们想象的价格，书画价格上升，这是非常重要的文化事件。国家要注意保护这些收藏家。为什么这么说呢？　因为，只有当拥有足够多、足够优秀的收藏家，才可能保护住古书画的价格；只有当保护住了价格，全社会才会重视古书画。因此，如果需要关心古书画，就要关心古书画收藏家。

　　我最近时常在想，如果这些收藏家因为经济条件，出现波折，他们费尽心血收藏的古书画，就有可能会重新被市场洗牌。这种情况如果多了，古书画就有可能被重新扔向深渊，价钱也会滑坡，就影响长期的保护与传承。当然，从长期来看，这也没有关系，只要我们创造条件，这批收藏家消沉了，又会有一批新的收藏家出现。书画作为文化，是千秋万代的事，而收藏则可能是十年河东、十年河西的事。目前，对股票市场有这么多监管、保护措施，为什么对古书画市场及收藏家，不能有保护措施呢？

　　刘九洲：收藏家们的社会作用确实很大，他们不仅给收藏的古书画标上了价格，也为存世的其他古书画标上了价格。

　　郑重：听说，你最近很多次谈到了文物价格的社会影响问题？　我是经历过古代书画不值钱的时代，如果人们都把古代书画看得很神圣、很珍贵，怀有一种敬畏精神，还会去糟蹋它吗？

　　刘九洲：7月底我参加了有关文化部门的座谈会，会上有人提出，目前中国文物的前景，似乎有两条道路可以走，一个是日本模式，一个是欧美模式。日本模式是什么呢？　年轻一代的日本人，在文化欣赏方面已经明显西化，不重视欣赏传统的艺术品，很多家族藏品随意抛售。欧美模式不一样，他们不断通过博物馆系统，强调他们的艺术品的来源、流向、变化轨迹，使得一代又一代人对艺术品体系非常熟悉，再加上政府税收上的导向，逐步成为世界性资产项目，从而使得全世界都会重视你的文化遗产。我个人认为，可以学习借鉴欧美模式。

　　古书画与今天的大众之间，需要架设文化的桥梁。其中，新时期博物馆的社会功能究竟何在，值得深思郑重：说到博物馆的社会影响，最近，我倒是有一次切身体会。今年夏天，我去纽约大都会博物馆，看了一些中国古代书画，想查阅叶恭绰曾经收藏过的东西，大都会博物馆亚洲部的研究人员，马上打开电脑，调阅了叶恭绰的藏品，有些是他人的藏品，叶恭绰作了题跋。人家资料做得非常好，检索方便。我问，能否给清晰1？　对方马上拷贝了一份给我，图像版权已经完全放开，关键是1清晰度足够直接印刷。

　　刘九洲：国内博物馆能够做到吗？毋庸讳言，我们的博物馆，尤其是一些主要博物馆，与社会沟通等方面，距离民众的需求还有一定差距，尤其在公开信息、引导社会方面，还不够细致深入。博物馆在新时代的社会功能，究竟在哪里，值得深思。

　　一个人一生中，有机会接触博物馆藏品，开启其心灵旅程的机会并不多，老一代博物馆专家，都非常重视联系社会、发掘新人，现在各个岗位上的重要学者，无不经过当年大名家的亲自栽培。而当今博物馆还是有“高墙”意识的，有些资料进了博物馆，大众反而看不到了，信息被“封存”了。博物馆到底有多少力量应该用在对社会推广方面，值得深思。服务社会首先还得与社会充分沟通，信息、人员互通有无，大家才会一起进步。

　　郑重：国内有些博物馆还是不够重视社会功能，对文物只是保管，但又不是带着敬畏精神的保护。有的保管人员怕麻烦，怕出事；而有的研究人员对资料垄断，可以就一些稀有资料写几篇论文，也不愿与别人分享。

　　刘九洲：说到写论文，倒是可以多聊两句。海内外各个高校都在感慨，古书画的人才是最难培养的。海外高校的博士学位，一般需要花费7年以上才能够获得，这个时间远远长于国内，即便如此，获得博士的专业人才，依然不足以应付古书画遇到的日常实际问题。大家都在问：这是怎么回事？

　　以我个人的感受，古书画在客观上要求的专业信息比较多，随着信息的开放，这个要求更加复杂。那种传统的，看看与代表作是否一致的研究方法，核对一下印章、签名就下判断的研究过程，事实上已经完全落伍了。总体来说，古书画研究中，要求学者越来越具备跨学科综合能力，这本身就是巨大难题———有这么多本领的人，有几个在研究古书画呢？

　　郑重：国外博物馆对古书画的收藏、展览、运作、研究，有什么新动态值得分享？

　　刘九洲：西方国家在传统艺术教育方面，投资比较大，且不计回报。我们每一次去博物馆，几乎都会遇上成群的学生，坐在地上对着真迹临摹。一个学生，画得好一点差一点，对他未来学业、未来赚钱有影响吗？　可以说，几乎没有。但是西方在艺术方向上的巨大投入，值得深思。

　　另外，在社会税收层面，美国目前可以捐赠艺术品，部分抵扣企业、个人税务。这是牺牲部分财政收入，将这些资金转投文化、转投博物馆建设，这是一种长期政策，牺牲部分现实利益，换取未来人群普遍审美情趣提高。

　　郑重：你参加了《宋画全集》《元画全集》这么一个巨大的项目，可以说是千载难逢的机会，值得珍惜。

　　刘九洲：在古书画与喜欢书画的人群之间，一直缺乏桥梁，当代社会也是如此。《宋画全集》　《元画全集》这一类书籍，算是重要的桥梁吧？　在这两部书出现之前，人们要讨论这些古书画，最大的困难就是看不到真迹、看不清楚图像。现在，这两部书几乎搜集了所有博物馆的相关藏画。海外博物馆专家也承认，这两部书，是世界水准的书籍。这种项目，是有影响力的。虽然不会出现立竿见影的效果，但会逐渐影响人们的审美情趣、影响人们的行为模式、思考方式，等等。不断加强这类文化桥梁项目的设计、落实，才是落实十九大报告精神的落脚点。不真抓实干，或者找不到要点，就无法落实讲话精神。

来源：光明网

The role development of ancient books and paintings in contemporary society

Guoyunlou collection of paintings "Akiyama Xiao Ji Qing map", Wang Shimin, 172.2 x 82.8 (CM), Gu's descendants donated Suzhou Museum
The ancient manuscripts today, contains numerous information, appreciation not only to have the knowledge, experience is more important.
Solemn: Recently, I have been studying the collection history of Suzhou's Yun Lou family. They collected paintings and paintings from generation to generation, which lasted for six generations, which is a miracle of cultural history. How can it last for so long? Why do the other people, after one or two generations, are no longer interested? Now hidden in the Suzhou Museum of Gu Wenbin to his three son Gu bearing a batch of letters, letter in detail about the Tibetan painting, respectively, should look at how, what are the advantages and disadvantages, what is, on very specific. I see this letter and I feel that the continuous discussion of calligraphy and painting within the family may be a secret of the continuation of the family collection. In the past, in my writing, family influence is a problem that has never been touched. But if we want to revitalize culture, we should encourage it in family education, which may be more effective than social education.
Liu Jiuzhou: I have a deep understanding of the collection from the point of view of the family. I began to write at the age of 7, is at the beginning of my grandfather's guidance, he also took me to buy home with the ink stone, ink ingot grinding test said, sand ink stick, the impression is very deep. To cultivate the interest of painting and calligraphy, you need someone to talk about it all the time.
Solemnly: past some of the famous painting, they privately teach students, also did not sit to teach, and will say: "do you come and play!" Play together, that is to teach you. The ancients often emphasize the dynasty, there is truth. The appreciation of ancient calligraphy and painting is a process of thinking and connecting thousands of loads. Sometimes it is not a systematic knowledge point, but a point and a bit of communication. The ancient manuscripts today, contains numerous information, appreciation not only to have the knowledge, experience is more important, if your knowledge and experience, met the eyes, that is to understand, you will feel very cordial. Of course, ancient books can not be like for all people, and eventually some people like it. But some people like it, it's very amazing.
Only those who have enough and enough collectors can protect the price of ancient paintings and calligraphy. Only by protecting the price can the whole society value ancient paintings and calligraphy.
Liu Jiuzhou: when it comes to ancient collectors, we can't talk about contemporary collectors. What do you think of this group of contemporary ancient books and paintings collectors?
Solemnly: private collectors are very important, in recent decades the situation, they are involved in the collection of calligraphy and painting market when the price is not high, with the development of economy, the ancient painting prices also increased, until now we think beyond the price, and price rise, this is a very important cultural event. The state should pay attention to the protection of these collectors. Why do you say that? Because only when enough and excellent collectors are able to protect the price of ancient paintings and calligraphy, only when the price is protected, the whole society will pay attention to ancient calligraphy and painting. Therefore, if you need to care about ancient calligraphy and painting, we should care about the ancient book collectors.
I have been thinking lately that if these collectors are in trouble due to the economic conditions, they may be re - shuffled by the market. If this kind of situation is more, the ancient books and paintings may be thrown back into the abyss, and the price will fall, which will affect the long-term protection and inheritance. Of course, in the long run, it does not matter, as long as we create the conditions, the collectors are depressed, and there will be a number of new collectors. Calligraphy and painting as a culture, is the ages to come thing, while it may be ten years Hedong, Hexi ten years. At present, there are so many supervision and protection measures on the stock market. Why can't the ancient calligraphy and calligraphy market and the collector have protection measures?
Liu Jiuzhou: the social role of collectors is really great, they not only to the collection of ancient paintings on the price, but also for other ancient paintings are marked on the price.
Zheng: I have heard that many times have you talked about the social impact of the price of cultural relics recently. I have experienced the era of ancient painting and calligraphy, which is worthless. If people take ancient calligraphy and paintings very sacred and precious, do they have a sense of awe? Will they ruin it?
Liu Jiuzhou: at the end of July I participated in the Cultural Department of the forum, the meeting has been put forward, Chinese cultural prospect at present, seems to have two way to go, is a Japanese model, one is the pattern of europe. What is the Japanese model? The younger generation of Japanese has been obviously westernized in cultural appreciation, and does not attach importance to the appreciation of traditional art, and many family collections are sold at random. European and American model is not the same, they continue through the museum system, origin, direction, change to emphasize their art, so that generations of people are quite familiar with the art system, coupled with the government oriented tax, has gradually become the world's assets, so that the whole world will pay attention to your cultural heritage. I personally think that we can learn from the European and American models.
Between ancient calligraphy and painting and the masses of today, we need to build a bridge of culture. Among them, what is the social function of the museum in the new period is worth thinking and solemnly: speaking of the social influence of the museum, I have recently been