一個清代詞臣畫家的「科學」之眼？－以鄒一桂（1686-1772）為例，兼論考據學對其之影響; The Protoscientific Vision of Zou Yigui (1686-1772), with Commentaries on his Writings

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題名:	一個清代詞臣畫家的「科學」之眼？－以鄒一桂（1686-1772）為例，兼論考據學對其之影響;The Protoscientific Vision of Zou Yigui (1686-1772), with Commentaries on his Writings
作者:	姜又文;Yu-wen Chiang
貢獻者:	藝術學研究所
關鍵詞:	小山畫譜;花鳥畫;考據學;鄒一桂;詞臣;court scholars and ministers;ZouYigui;XiaoshanHuapu;textual research;bird-and-flower painting
日期:	2010-07-28
上傳時間:	2010-12-08 14:12:24 (UTC+8)
出版者:	國立中央大學
摘要:	清中葉盛行之考據學風氣，在不同層面上對當時的知識份子產生了影響。鄒一桂（1686-1772）生於書香世家，透過科舉的方式取得官職。在他的學術思想與藝術理念上，除了繼承惲壽平一派的的繪畫家學外，考據學中「實學」的治學方法與觀察態度，也對其產生了很大的作用。宦遊貴州十一年（1732-1742），鄒一桂在生活中落實親身探查、博考詳記的工夫，對於天地萬物、花草樹的研究有了更深的認識。而他回京任官至退休這段期間（1742-1758），從詩文紀錄與傳記年譜中，我們也挖掘到鄒一桂與考據學者間密切交往的事實，以及他們共有的價值觀念和看待西學的態度。雖然清宮西洋風潮盛行，但在「西學中源」說的確立下，清廷自君王而至百官，莫不以此作為對待西人與西方文化的普遍態度。鄒一桂亦不例外，無論是思想還是作品中，乍看之下似乎受到西法影響的形式，其實追根究本，他還是遵循著某種中國傳統的樣式與路徑為之。為能符合皇帝喜好，鄒一桂製作過許多具有圖鑑、解說性質的作品，也有試圖融合中西技法的努力。但他骨子裡嚴奉考據，謹持家學的血液，卻在他作品中無法變移的傳統樣式上，顯露無疑。他的畫論著作《小山畫譜》，除了結合他畢生花卉繪畫的經驗與評論外，也保留下鄒一桂參考中國傳統博物學與譜錄後，具植物學研究價值的文字記載。而其與乾隆皇帝間的君臣互動關係中，我們也發現他試圖在繪畫、詩文中，彰顯他特殊的個人價值。乾隆除了給予的讚揚與賞識外，也因特別看重鄒一桂畫花形貌的精準能力，一再諭令其繪作具紀實意義的花譜、盆景圖等。本論文擬由上述各個面向，針對鄒一桂生平、遊歷交友的詳細情況，還有影響他思想價值與繪畫理念的時代風氣，作深入的整理與分析。也由他與皇帝間的互動中，呈現君王對他的評價。最重要的是，透過專題研究的方式，能突顯西風東漸下，一個清代文人官員如何運用考據學的方法與知識，樹立一套有力的自我知識體系，在各層面上試圖與西方「新知」分庭抗禮。 The prevailing textual research atmosphere in the mid-Qing Dynasty has had an impact on intellectuals of different levels. Zou Yigui (1686-1772) was born into a scholarly family in Wuxi. In addition to the inheritance of Yun Shou-Ping’s family academic painting context in Zou’s academic thoughts and art concepts, the “practical science” research method and observation attitude of textual research also had a great impact on him. In 1732, Zou took a bureaucratic job in Guizhou for 11 years. While in Guizhou, Zou had more in-depth understanding of flowers, trees and local creatures through his exploration and detailed records of life. We also found that he was friends with the other Qing dynasty researchers and they also shared the same values and attitude for western studies, according to the poetry chronicle records and his biography during the time he worked in Beijing until he retired (1742-1758). The western atmosphere was very prevalent during the Qing Dynasty. However, Zou and these researchers believed that the basis of many western studies originated in China. Therefore, the development led the Qing Dynasty to apply these ideas to western people and cultures. Zou’s book, “Art of Painting of Xiaoshan”（Xiaoshan Huapu）, in addition to combining his life flower painting experiences and comments, also retained Zou’s valuable botanical research written record after referring to Chinese traditional natural history. In some of his specific works, he also demonstrated a new creativity which was different from traditional Chinese paintings; it is a skill that cleverly mixed western technique with the traditional painting. All of his attempts were to meet the painting preference of Qianlong, and it also showed self –realization which didn’t originate from the direct guidance of a westerner, and the academic foundation and scholar thinking of textual research in many of his illustrations and paintings. The paper plans to perform an in-depth analysis focusing on Zou Yigui’s life, experiences and friendships, and the era atmosphere that impacted his thinking values and painting ideas from the above-mentioned aspects. It will also present the emperor’s comments for Zou, from his interaction with the emperor. Most importantly, it will use the special study approach to draw attention to how a Qing scholar official use textual research method and knowledge to set up a powerful self-knowledge system in an attempt to rival western “new knowledge” in the state of Western influences spreading to the East.
顯示於類別:	[藝術學研究所 ] 博碩士論文

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