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題 名 | 從主題角度探討黃山畫派的發展及其定義問題(下)=Exploring the Development and Definition of the Mt. Huang School from the Perspective of Subject Matter(2) |
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作 者 | 李淑卿; | 書刊名 | 國立中正大學學報 |
卷 期 | 9:1(人文分冊) 民87.12 |
頁 次 | 頁183-231 |
分類號 | 944.9 |
關鍵詞 | 黃山畫派; |
語 文 | 中文(Chinese) |
中文摘要 | 以「黃山」來結合一群畫家的觀念直到一九二四年始見於黃賓虹的 < 黃山畫家源 流考 >。近一、二十年來對黃山畫派的命名、畫派所含蓋的時間、畫派所包含的畫家等三問 題爭議頗大,其主因有二:一是大多數學者論及黃山畫派所屬畫家時,不是偏向以畫家出生 或活動於安徽南部地區為範圍,就是以風格相近的安徽南部地區畫家為範圍,然以「地域」 或「風格」這二傳統基準來探討黃山畫派,不但無法對該畫派所屬時間有明確界定,且易於 與其他畫派相混淆,更是全然忽視「黃山」這一具體實景在十七世紀的中國畫壇上所曾扮演 的特殊角色;二是尚未有學者曾對此畫派形成的背景、發展過程、各畫家間的交往關係、各 畫家畫作風格異同等諸問題深入探究,故無法對此畫派有一較正確完整的瞭解。 十七世紀至十八世紀初,尤其是十七世紀後半期,有不少以「黃山」為主題的重要畫作存世 。本文經對這些畫作作較全面之分析,探得「黃山實景」應是黃山畫派構成的主因,故主張 以「主題」作為劃分此畫派的主要依據。此畫派之畫家皆喜愛以奇特多變化的黃山實景為共 同題材,而大多數是彼此交往甚密的文人,故有某些共通的特色。本文將此畫派之發展過程 分三階段探討:其於十七世紀前半期已開始蘊釀;於十七世紀後半期發展至巔峰;而於十八 世紀初期漸邁入衰微期。此後雖有畫家繼續畫黃山,但再也沒有一群傑出的畫友選黃山為共 同熱愛的主題。 |
英文摘要 | The idea of grouping certain painters concerned with "Mt. Huang" was first put forward in 1924 by Huang Binhong. The name and definition of the school have been argued over for the past two decades. There are two main reasons for this argument. Firstly, most scholars have defined the school either from the geographical perspective or from a stylistic point of view. Neither can the period of the school be clearly defined, nor the significant role of the actual scene of Mt. Huang in the late 17th century Chinese landscape painting be fully understood if we explore the school from these tow aspects. Secondly, no scholars have ever thoroughly studied the school before, such as its background and development, the relationships between artists, and the comparisons among its works. Many paintings of Mt. Huang were produced during the 17th and the early 18th centuries, especially the second half of the 17th century. Through an analysis of these works, the Mt. Huang school can be defined on the basis of "subject matter" (without the mountain there would be no "school"). The artists of the school loved to render the fantastic and changing scenes of Mt. Huang. Also, most of them were literati and friends, whose renditions of Mt. Huang share some features. The school emerged in the early 17th century and developed gradually to be an important school during the second half of the 17th century. It began to decline in the early 18th century. Athough artists still depict Mt. Huang after then, never again has a group of closely-knit artists chosen it as their common subject matter. |
本系統中英文摘要資訊取自各篇刊載內容。