|
Abstract In the early 20th Century, Wang Guowei observed that Northern Song literati’s interest in bronze and stone antiquities encompassed two intertwined orientations: research and connoisseurship. However, recent academic inquiry has predominantly focused on the “fascination with research”, with relatively scant attention paid to the equally far-reaching “fascination with connoisseurship”. This study demonstrates that, contrasted with the academic pursuit of “verifying classics and supplementing histories”, Northern Song literati’s interest in bronze and stone antiquities was more commonly manifested as artistic appreciation, specifically through appreciative handling of bronze and stone artifacts, inscriptions and their rubbings during leisurely retreats and lyrical excursions—alongside profound recognition and experiential understanding of their ornamental and recreational properties. Descriptions of bronze and stone antiquities connoisseurship experience in Northern Song poetry and prose indicate that literati of the time perceived the artistic allure of these objects as stemming primarily from two sources: the aesthetic properties of the artifacts themselves and the aesthetic properties of their inscribed calligraphy. As a category of bronze and stone antiquities, bricks and tiles played a nearly identical role to ancient bronzes in the cultural lives of Northern Song literati. Among these, Tongque terrace tiles and their derivatives, particularly inkstones, were the most representative and highly prized varieties. Therefore, Northern Song literati’s attitudes towards these objects significantly reflect their understanding and perception of the relationship between the sense of historicity and aesthetic beauty embodied in bronze and stone antiquities. In essence, the aesthetic properties of ancient antiquities exhibit supervenience, being dependent upon, or even determined by their contextual properties—the rich historical memories they carried. Within the cultural atmosphere and intellectual context of “returning to the Three Dynasties”, visual elements signifying “archaic intentionality”—such as forms, patterns, weathering marks, and patina of antiquities—held immense appeal for Northern Song literati, whose ideological foundation and class identity were rooted in Confucianism. These elements profoundly stimulated their diverse imaginations of the historical contexts to which the artifacts belonged, allowing them to derive pleasure from the spiritual communion with ancient sages. The artistic value of inscription calligraphy formed another focal point of Northern Song bronze and stone antiquities connoisseurship. In Jigulu Bawei, Ouyang Xiu articulated a groundbreaking aesthetic perspective on calligraphy: by accommodating diverse stylistic orientations, he positioned masterworks and anonymous epigraphic traces within a unified evaluative framework, subjecting both to equal critical scrutiny. This concept profoundly influenced Northern Song calligraphic theory, prompting literati to consciously appreciate the artistic charm inherent in anonymous epigraphic writings. Simultaneously, the widespread availability of rubbings allowed a vast array of epigraphic inscriptions—varying in nature, appearance, and authorship—to share the same visual medium with canonical calligraphic works, revealing their distinctive calligraphic value. Consequently, these inscriptions became invaluable resources for Northern Song literati in reconstructing calligraphic genealogies and developing personal calligraphy styles. This study explores the connoisseurship dimension of Northern Song antiquarian culture from multiple perspectives, revealing the dynamic interplay among artistic sensibility, historical consciousness, and cultural identity during the 11th Century. It elucidates the historical significance of “fascination with connoisseurship”, while providing a fresh conceptual lens through which to examine: the evolution and diffusion of antiquarian vogue from the Southern Song onward; the emergence of Stele School Calligraphy in the Qing Dynasty; and the trajectories of traditional Chinese artistic concepts.
|
|
Published: 22 April 2026
|
|
|
|
