清代宮廷畫家冷枚人物畫研究; The Study of Leng Mei's Figure Painting

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題名:	清代宮廷畫家冷枚人物畫研究;The Study of Leng Mei's Figure Painting
作者:	李亦梅;Yi-mei Lee
貢獻者:	藝術學研究所
關鍵詞:	臣字款;活計檔;焦秉貞;羅漢;風俗畫;人物畫;冷枚;Genre painting;Zaobanchu Archives;Chen Zih Kuan;figure painting;Leng Mei;Lohan;Chiao Ping-chen
日期:	2010-07-12
上傳時間:	2010-12-08 14:12:18 (UTC+8)
出版者:	國立中央大學
摘要:	冷枚（1662-1742年）是清代宮廷代表畫家之一，康熙與乾隆兩朝供奉內廷。史料記載冷枚擅畫人物，尤精仕女，畫風屬精工細筆。然今日關於冷枚之研究多集中在其生平的討論，對他的人物畫風格亦無太多著墨。本研究欲從史料記載與《活計檔》的記錄了解冷枚的生平活動，包括其生卒年與入宮時間的釐清，以及他在宮內、外的活動情形。另外，本論文以冷枚人物畫作為探討主軸，從仕女、佛教人物與風俗故實等類別，建立冷枚的人物畫風格特色。冷枚筆下的仕女形象多樣，代表作品如以宮廷嬪妃為題材的《仿仇英漢宮春曉圖》、《十宮詞圖》，又有閨秀形象的《春閨倦讀圖》、《蕉蔭讀書圖》，另有女仙題材的《西王母圖》、《麻姑獻壽圖》。綜觀這些仕女畫，人物皆有著制式化的臉部：高寬額頭、八字眉、鳳眼、櫻唇，加上極為削肩的纖細身軀，讓仕女看起來更顯柔媚瘦弱。如此定型化面容之繪法源自其師焦秉貞，本文亦欲探究冷枚與其師於仕女畫風格之異趣，以了解其在畫風上的承襲與突破。在佛教人物畫方面，本文以北京故宮本《羅漢》冊為討論核心。構圖上，該作繼承傳李公麟白描羅漢畫之傳統，畫中羅漢以僧人形象出現，並有羅漢與祖師身分互用之現象。此外，冷枚更描繪大量風俗故實圖，如以歷史故事為主題的《春夜宴桃李園圖》。也有具教化作用之作，如農桑連環圖畫《耕織圖》冊；用以教育皇子之鑒戒圖畫《養正圖》冊等。而冷枚如何應用西方的圖繪模式於作品，也是本論文討論的重點。 Leng Mei (1662-1742) was one of the leading painters of the Qing court. He served during the reign of Kangxi and Qianlong. Many records show that Leng Mei was proficient in human figures, especially in ladies, and his works show precise brushwork. However, most of Leng Mei studies were focus on his background, no further interpretations on Leng Mei’s figure painting style. Through the history records and the records in the Zaobanchu Archives, this study will focus on Leng Mei’s life and activities, in order to the dates and the time he entered the court. The main subject of this study is the figure painting of Leng Mei. To specify the characteristics of his style of figure painting by examining his “Ladies”, “Buddhism”, and “Genre” painting. There are various types of Leng Mei’s Ladies works. Such as the palace ladies, like After Ch'iu Ying's Spring Morning in the Han Palace and Ten Lyrics of the Palace Life; In addition, the subject of the elegant beauty, which includes Reading in the Boudoir, Reading in the Shade of a Banana Palm; Furthermore, the subject of divine beauty, for example, Hsi-Wang-Mu, Ma Gu Gives Her Birthday Greetings. These ladies’ faces are stereotypical: high forehead, sloping eyebrows, phoenix eyes and cherry mouth, and off-shoulder which make the ladies looks more slender and weaker. This stereotypical is originated from Jiao Bingzhen, who was Leng Mei’s teacher. The discussion will investigate the differences between Leng and Jiao’s style of Ladies, and to finds out how he adopted the style and transcend. In his figure paintings of “Buddhism”, The Lohan album is preserved in Palace Museum. This painting presents the traditional composition of Lee Gong-Lin’s Lohan. Likewise, the lohan is showed as a monk in this album, and sometimes it exchanged identitis of lohan and patriarch. Moreover, Leng Mei painted a lot of genre paintings, such as Spring Evening Banquet at the Peach and Pear Blossom Garden, which represent history narratives. There are also edifying works like Illustrations of Agriculture and Sericulture, which is a connecting link painting of tilling and weaving. And Preservation of Righteousness album was painted for prince. The following discussion will focus on the fact that how Leng Mei functioned and translated western painting elements into his own works.
顯示於類別:	[藝術學研究所 ] 博碩士論文

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