本課程選擇閱讀古代文物的研究文獻，以瞭解古代文物的研究目的與方法，包括文物的觀察與描述、文字記錄的比對、不同時期同類文物的比對，特別著重文物的歷史意義，以及單獨作者的單一作品、或前後期的作品、或與其他作者的作品的關係的研究。每次上課先由事先指定的同學報告，接著由老師及全體同學一起討論。老師提供九篇文章，其中包含七篇中文的研究文獻，涵蓋青銅器、繪畫、書法、陶器、以及中國書畫鑑定，另有兩篇英文研究文獻，分別關於古希臘陶器以及西洋繪畫鑑定法。

This course chooses to read the research literature on ancient cultural relics to understand the purpose and methods of researching ancient cultural relics, including the observation and description of cultural relics, comparison of written records, and comparison of similar cultural relics in different periods, with special emphasis on the historical significance of cultural relics, as well as the study of a single work of a single author, or previous and later works, or the relationship with the works of other authors. Each class begins with a report by a designated classmate, followed by a discussion by the teacher and all classmates. The teacher provided nine articles, including seven Chinese research documents covering the identification of bronzes, paintings, calligraphy, pottery, and Chinese calligraphy and painting, and two English research documents, respectively on ancient Greek pottery and Western painting identification methods.

1. 張光直，〈商周青銅器上的動物紋樣〉，《中國青銅時代》（香港：中文大學，1982）195-214.
2. 莊申，〈趙雍人馬圖卷考〉，《中國畫史研究》（台北：正中，民48）251-264.
3. 石守謙，〈風格、畫意與畫史重建──以傳董源《溪岸圖》為例的思考〉，《從風格到畫意》（台北：石頭，2010）89-118.
4. 朱惠良，〈論董其昌楷行草書風之發展〉，《無形之相》（台北：故宮，民105）114-121.
5. 謝明良，〈有關「官」和「新官」款白瓷官字涵義的幾個問題〉，《中國陶瓷史論集》（台北：允晨，2007）79-117.
6. 徐邦達，〈鑒別古書畫應注意的各點〉，《古書畫鑑定概論》（上海：人民美術，2000）17-53.
7. 徐邦達，〈作偽和誤定的實況〉，《古書畫鑑定概論》（上海：人民美術，2000）54-82.
8. D. C. Kurtz, ‘Beazley and the Connoisseurship of Greek Vases’, Greek Vases in the J. Paul Getty Museum, 2 (1985), 235-250.
9. Ffoulkes, C. J., ‘Morelli, Giovanni’, in The Encyclopaedia Britannica, a Dictionary of Arts, Sciences, Literature and General Information11, xviii (Cambridge, 1911), 830.

1. Zhang Guangzhi, "Animal Patterns on Shang and Zhou Bronze Ware", "The Bronze Age of China" (Hong Kong: Chinese University, 1982) 195-214.
2. Zhuang Shen, "Examination of Zhao Yong's Pictures of People and Horses", "Research on the History of Chinese Painting" (Taipei: Zhengzhong, Min. 48) 251-264.
3. Shi Shouqian, "Style, Painting Concept and Reconstruction of Painting History - Thoughts on the Example of Dong Yuan's "River Bank Picture"", "From Style to Painting Concept" (Taipei: Stone, 2010) 89-118.
4. Zhu Huiliang, "On the Development of Dong Qichang's Kaixing Cursive Calligraphy Style", "Invisible Form" (Taipei: National Palace Museum, Min. 105) 114-121.
5. Xie Mingliang, "Several Issues Concerning the Meaning of the Official Characters of "Guan" and "Xinguan" Type White Porcelain", "Anthology of the History of Chinese Ceramics" (Taipei: Yunchen, 2007) 79-117.
6. Xu Bangda, "Points to note when identifying ancient calligraphy and painting", "Introduction to the Appraisal of Ancient Calligraphy and Painting" (Shanghai: People's Fine Arts, 2000) 17-53.
7. Xu Bangda, "The Facts of Forgery and Misidentification", "Introduction to the Appraisal of Ancient Calligraphy and Paintings" (Shanghai: People's Fine Arts, 2000) 54-82.
8. D. C. Kurtz, ‘Beazley and the Connoisseurship of Greek Vases’, Greek Vases in the J. Paul Getty Museum, 2 (1985), 235-250.
9. Ffoulkes, C. J., ‘Morelli, Giovanni’, in The Encyclopaedia Britannica, a Dictionary of Arts, Sciences, Literature and General Information11, xviii (Cambridge, 1911), 830.