Page 21 - 2019 September 12th Christie's New York Chiense Art Masterpieces of Chinese Gold and Silver

the 1970s (see Jan Wirgin, Chinese Ceramics from the Axel and Nora Lundgren Bequest, Stockholm,
1978). The Lundgren collection encompassed Chinese paintings, bronzes and ceramics, and some
44 items from the collection were exhibited at the National Museum in 1928. Axel Lundgren was
another of the early members of the Kinaklubben.

As well as major collectors of Chinese art, there were major scholars of Chinese art in Sweden during
this period. One of these was the Finnish-born Swedish art historian Osvald Sirén (1879-1966), who
was Professor of History and Theory of Art at the University of Stockholm 1908-1923, and Keeper of
Paintings and Sculpture at the National Museum, Stockholm from 1928 to 1945 (see Minna Törmä,
Enchanted by Lohans - Osvald Sirén’s Journey into Chinese Art, Hong Kong, 2013). Although he
had started out as a scholar of European art – particularly the art of the Italian Renaissance – when
he was almost 40 years old Sirén became fascinated by the arts of China, and went on to become
one of pioneers of the study of Chinese art in Europe. Among the subjects on which he published
his research were Chinese painting, sculpture, architecture and gardens. His seven-volume work
Chinese Painting: Leading Masters and Principles, which was published in 1958, remains a valuable
reference work today.

In the area of archaeology, Swedish scholars were also to the fore. Among these was Johan Gunnar
Andersson (1874-1960) an archaeologist, palaeontologist and geologist, who was invited to China
by the Chinese Government in 1914 to act as a mining adviser. Andersson was involved with the
discovery of the Neolithic Yangshao culture in north China in 1921. In 1923-24, while serving as
a member of China’s National Geological Survey, he was also able to conduct archaeological
excavations in Gansu and Qinghai. He visited Zhoukoudian in 1916, 1921 and 1923, and during the

館，以容納瑞典方面在中國的考古成果。他出任館 特生於1935年第七期館刊發表的<The Goldsmith
長一職，1939年始由高本漢 (Bernhard Karlgren) of Ancient China>，另一篇是林伯格刊登於1953
接任。 年第25期的<Hsing yao and Ting yao>。
高本漢 (1889-1978年) 既是瑞典漢學家與語言學 另一位瑞典學者名叫帕尼爾 (Nils
家，也是研究漢語音韻史的先鋒。他最初研究的 Palmgren，1890-1955年)，其研究課題也與凱
雖是古典及北歐語言，但中國方言之多讓他眼界大 波的收藏興趣有關。大學時期，帕氏集中探討中
開，其後更獲得一筆助學金，遠赴聖彼得堡學習漢 國藝術，其碩士論文便是以中國陶瓷為題。但他
語。他在1910至1912年期間旅居中國，回到歐洲 的考古經驗並非來自中國，而是位於伯羅奔尼撒的
後向烏普薩拉大學呈遞其博士論文《漢語音韻學研 希臘古城阿斯尼。他根據安特生出土的中國新石器
究》。此後，他曾於哥特堡大學執教，1931至1936 時代陶瓷，完成了自己的博士論文《The Kansu
年間出任校長。1939至1959年期間，他接任遠東 Mortuary Urns of Pan Shan and Ma Chang
古物博物館館長，並繼承安特生之衣缽，充當館刊 Groups》。1934年，他親赴中國考察，重點研究
《遠東古物博物館通訊》的編輯，直至1970年卸 宋瓷，其工作成果收錄於他與Walter Steger及Nils
任為止。他在《通訊》發表多篇文章，部份以中國 Sundius合著的《Sung Sherds》，此書刊行於
早期青銅器為題。晚至二十一世紀，這份刊物仍有 1963年，迄今仍被視為其代表作。他雖曾研究中國
出版，期間刊登了許多關於東亞藝術的重要學術論 玉雕與青銅器，但與凱波藏品最密切相關的仍是他
文，當中亦有涉及凱波的收藏領域。其中之一是安 在宋瓷方面的研究成果。 19