摘要
從有美術館以來，世界各美術館發生過多起藝術品作者歸屬（authorship）疑 雲，究竟是誰和何種養成訓練，能夠回答釐清這類的問題？藝術史學家、鑑賞家（connoisseur）、藝術評論？歐美相關於個別鑑賞家的文獻相當多，但並未串聯，也未做比較，因而引發了研究者以下的研究動機：鑑賞家在現今是否還有功能角色？鑑賞是藝術評論的前身嗎？藝術史學為何沒有取代鑑賞知識（connoisseurship）？鑑定科技驅逐了鑑賞家嗎？本研究欲從文獻和案例中，探討鑑賞家的發展歷程，以觀察鑑賞家與鑑賞能力之特質，以及在現今藝術領域的位置及在藝術真實性問題上之角色。
關鍵詞
鑑賞家、藝術真跡、藝術鑑定、藝術偽作、藝術評論
Abstract
Disputes over authorship and authenticity have a history as long as that of art museums themselves. Which professionals and what kind of professional training offer the authority to settle such disputes? Are art historians, art connoisseurs, art appraisers or art restorers qualified? There are mountains of research on individual art connoisseurs in the West; however, few studies have integrated these findings. This study aims to find out: What is the role of art connoisseurs today? Is art connoisseurship a prerequisite for art criticism? Why hasn't art history replaced art connoisseurship? Have technologies of value appraisal replaced art connoisseurship? Through case studies and reviews of existing literature, this study attempts to clear up the role, capacity and nature of art connoisseurs and their importance for determining authenticity in today's art world.
Keywords
connoisseur, authenticity of art, art appraisal, art forgery, art criticism
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