十七世紀的安徽宣城畫家梅清與新安風尚、黃山圖像、遺民畫家以及石濤等等議題之間，都有著深切而複雜的關係，研究梅清的生平與藝術勢必可以使清初畫史的脈絡得到更多的補全。 而梅清的研究現況實際上礙於龐大數量的偽作，一直使得其真正的風格面貌顯得隱晦不清，對於其風格演變與外在文化環境形成何種對位關係便很難有進一步清晰的討論，與梅清相關連的幾個畫史議題也較難以深入探究。甚至，這幾個被架設起來的議題框架，是否是唯一合適的角度來呈現梅清藝術發展的面向可能都還是個問題，是否有尚未被提出的畫風淵源能引領我們對梅清做更深入的研究與適切的定位？本論文在重整梅清生平經歷、掌握其繪畫風格分期以及真偽畫作廓清之餘，更進一步希冀提出新的思索方向。即是考慮來自新安之外的區域風尚滋養。不論就梅清的生平交友、繪畫風格的顯現、梅氏家族發展的歷程以及宣城的地理位置來看，這個新的考量都是十分值得我們關注的面向。 Tracing back the painting of the seventeenth century China, the relationships between Xuan-Cheng artist – Mei Qing with Xin-An mode, Mt. Huang Pictures, I-min painters and Shih-Tao are complicated; hence by studying the life and art works of Mei Qing will enhance understanding of the art history of early Ching Dynasty. Practically, the study of intrinsic nature of Mei Qing works remains obscure and unclear due to plenty of forgeries; thereupon, it is difficult to clearly define interrelation between his art style change and culture environment in further stage, it is also hard to clarify several topics which are related to Mei Qing in the art history. Besides, it is still questionable if following known perspectives to present and analyze works of Mei Qing is the only way. Is there unnoticed origin of drawing style which can lead us to a new and profound study of Mei Qing works? In this research, beside study on painter’s background, development of styles and the forgeries of his works, a new direction to analyze Mei Qing has been expected to present in this research.
