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晚清以来的战争和社会动荡,使大量书画文物流散,中国的民间收藏活动因此再度活跃,二十世纪的新兴商业都市如天津、上海、广州都成为文物枢纽。一九四九年前后,香港因为特殊的历史及政治因素,亦成为南北文物的集散地,并谱写了近代中国书画收藏史上的重要一页。在这个短暂的黄金时代,直接或间接地造就香港一些独具特色的私人书画收藏,其中利氏北山堂、何氏至乐楼和刘氏虚白斋堪称为香港的三大书画典藏。其中,北山堂书法藏品有一卷沈右《行书送医师沈伯新序卷》,过去并没引起太多关注,然其所包含的丰富文化脉络,有如一块未经琢磨的美玉,待人发现。
War and social unrest since the late Qing dynasty caused a large number of calligraphy and painting relics to flow away. As a result, the folk collection activities in China became active again. The emerging commercial cities in the twentieth century such as Tianjin, Shanghai and Guangzhou all became cultural relics. Before 1949 and after 1949, Hong Kong also became a center of distribution of cultural relics between North and South because of its special historical and political factors and wrote an important page in the history of modern Chinese calligraphy and painting. In this short golden age, Hong Kong has some direct or indirect collections of distinctive private calligraphy and painting. Among them, Lee’s Kitayama Church, Ho’s Lok Lok House and Liu’s Fool’s House are the three largest collection of calligraphy and painting in Hong Kong. Among them, the Beishan Hall calligraphy collection has a volume of “right hand to send a physician Shen Bo new preface,” the past did not cause much attention, but its rich cultural context, like a piece of unpolished jade, treat others found.