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題 名 | 水墨人物畫之成立、發展與終結=The Emergence, Development, and End of Ink Figure Painting |
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作 者 | 海老根聰郎; | 書刊名 | 故宮學術季刊 |
卷 期 | 19:4 民91.夏 |
頁 次 | 頁41-58+171 |
專 輯 | 蒙元文化與藝術學術研討會專刊(一) |
分類號 | 944.5 |
關鍵詞 | 水墨人物畫; 朽; 九朽一罷; 梁楷; 魍魎畫; 牧谿; Ink figure painting; Charcoal drafting tool; Hsiu; Drafting technique; Chiu-hsiu i-pa; Liang K'ai; Ghost painting; Mu Hsi; |
語 文 | 中文(Chinese) |
中文摘要 | 現存日本的眾多繪於宋、元時期之水墨人物畫,是被中國傳統鑑賞界摒棄的作品群,在日本也僅被個別討論。本文希望能歸納出顯示這群作品的成立、發展與終結的脈洛,並輔以實例來觀察其過程。 水墨人物畫由十世紀的捨朽畫家開始,經南宋畫院畫家梁楷、禪林中的魍魎畫、畫僧牧谿,經過各式各樣的發展,達到元代的抽象化作品階段,終至封閉其發展的循環。我們可視其與中唐時期水墨山水成立,往宋代自然主義、元代反自然主義,居宋元時期繪畫主流之山水畫的發展平行。 |
英文摘要 | large numbers of Sung and Yuan period ink figure paintings exist in Japanese collections. These works have been virtually ignored by traditional Chinese connoisseurs, and only rarely discussed by Japanese scholars. The present essay seeks to establish a chronicle for the development of ink painting that will serve as a framework for categorizing surviving works. Ink figure painting began in the tenth century with the painters of the she-hsiu (abandoning draft) school. It continued with the work of the Southern Sung court painter Liang K'ai, the 'ghost' (wang-liu) painting of the Ch'an Buddhist community, and the work of the painter-monk Mu His. The multifaceted development of ink painting finally ended with the emergence of abstraction in the Yuan dynasty. It appears that the emergence of ink figure painting was associated with the ink landscapes of the middle T'ang, and that it developed in tandem with Sung naturalism and Yuan anti-naturalism. |
本系統中英文摘要資訊取自各篇刊載內容。