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題 名 | 清季畫論與畫家的關係:繪畫思想及其論述形式之分析=Painters and Painting Discourse in the Late Ch'ing Dynasty: Analysis of Painting theory and Discursive Form |
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作 者 | 劉瑞寬; | 書刊名 | 興大人文學報 |
卷 期 | 33(下) 民92.06 |
頁 次 | 頁831-855 |
分類號 | 944.97 |
關鍵詞 | 夢幻居畫學簡明; 頤園論畫; 醉蘇齋畫訣; 畫論; 畫學; 清季; Meng-huan-chu; Hua-hsueh; Chien-ming; I-yuan; Lun-hua; Tsui-su-chai; Hua-chueh; Discourses on painting; Painting theory; Late Ch'ing dynasty; |
語 文 | 中文(Chinese) |
中文摘要 | 本文主要以鄭績《夢幻居畫學簡明》、松年《頤園論畫》與戴以恆《醉蘇齋畫訣》三本畫法類的著作為分析的對象,探討其繪畫思想及論述形式的發展,以期瞭解清代後期畫論內容逐漸空疏的原因。鄭續書中以山水畫的闡釋為主,思想上依舊延續心學的繪畫傳統,並且對描繪的對象提出辨別形體與種類的概念,這本書雖然只是鄭績個人習畫的感想,但是書中的論說都有來源,首先以「總論篇」為大緧,接著「述古篇」則徵引前人畫論的典範作為證據,最後再陳述個人作畫的獨到經驗,是清代後期少見立論精闢的畫論著作之一。至於,松年與戴以恆兩人的論說,則以心得的陳述為主,採用口訣的方式書寫,方便學習者背誦,所以全書完全側重於繪畫技巧的說明,既無法為清代畫學做出總結性的論證,也沒有任何開創性的理論。 |
英文摘要 | Through an examination of the painting theories and discurisve format of three late Ch’ing texts on painting-Cheng Chi’s Meng-huan-chu hua-hsueh chien-ming, Sung Nien’s I-yuan lun-hua, and Tai I-heng’s Tsui-su-chai hua-chueh-this paper seeks to discern the reasons for the gradual loss of content that characterizes later Ch’ing painting discourse. Cheng Chi’s work, primarily an interpretation of landscape painting, expresses traditional notions of self-expression and differentiates, on formal grounds, various subject categories. Although the text is simply Cheng Chi’s personal reflections on painting, its arguments are all borrowed from earlier sources. The discussion found in the first and second sections of the text, entitiled General Theories (Tsung-lun pien) and Discourse on the Ancients (Shu-ku pien), respectively, is based on standard theories elaborated in earlier texts on painting. The final section, in which Cheng Chi’s does discuss his own personal artistic experiences, represents one of the few truly incisive late Ch’ing’s contributions to painting discourse. Sung Nien and Tai I-heng both focus on the training process, with set phrases for easy memorization. The texts are entirely focused on technical aspects of painting, and thus offered late Ch’ing painters nothing in the way of unified thory. In sum, they are void of theoretical creativity. |
本系統中英文摘要資訊取自各篇刊載內容。