身份和视角：从题跋看帝王文人的鉴藏态度——以《五牛图》为例
Identity and Perspectives: The Attitude of Imperial and Scholarly Scholars towards the Collection from the Perspective of Inscriptions and Postscripts—Taking the “Five Ox Painting” as an Example

本文以《五牛图》为研究对象，通过梳理其历代流传下来的题跋，力图分析其文字背后所蕴藏的真实意图。并将以赵孟頫为主的文人，和以帝王为主的乾隆，这两种不同身份的观画者的为视角进行对比。一方面分析帝王和文人之间的异同，另一方面分析，分析不同鉴藏态度后所隐含的更深层次的意图表达，跳出研究“艺术家”的范畴，着重探究“观众”的视角。
This article takes the “Five Ox Painting” as the research object, and by sorting out its inscriptions and postscripts passed down through various dynasties, attempts to analyze the true intentions hidden behind its writing. And compare the perspectives of literati with Zhao Mengfu as the main figure and Qianlong with emperors as the main figure. On the one hand, analyze the similarities and differences between emperors and literati, and on the other hand, analyze the deeper expression of intentions implied by different attitudes towards Tibetan culture, breaking out of the scope of studying “artists” and focusing on exploring the perspective of “audiences”.