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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/4865

    Title: 吳偉人物畫風格研究;The Study of Wu Wei’s Figure Painting
    Authors: 劉英貝;Ying-pei Liu
    Contributors: 藝術學研究所
    Keywords: 道釋;神仙;乞丐;青樓;仕女;吳偉;浙派;人物畫;南京;秦淮;Wu Wei;The Zhe School;figure painting;Nanjing;Chin-huai river;prostitute;The Ladies;Taoist and Buddhism;immortal;beggar.
    Date: 2008-07-08
    Issue Date: 2009-09-22 09:34:28 (UTC+8)
    Publisher: 國立中央大學圖書館
    Abstract: 吳偉(1459-1508)是一位在人品與畫品上兼具鮮明特色的畫家,一生充滿戲劇化般的傳奇色彩。吳偉曾經得到連續兩任皇帝對他有如仙式英雄般的崇拜敬仰,受封了「畫狀元」這個無人可匹敵的顯赫稱號,其繪畫生涯終生鼎盛。吳偉是一位全能畫手,繪畫作品涉獵題材廣泛,尤長於山水、人物畫。在畫史上,吳偉並不僅以粗獷豪邁風格聞名,其細緻縝密的畫風亦別出心裁。本論文中將以吳偉人物畫作為主線,進行風格的分析與討論。而南京是吳偉選擇發展畫業生涯的主要城市,吳偉把南京的文化與生活帶進了他的畫裡。他所居住的秦淮岸邊,這條繾綣纏綿的古老河畔,成為他最佳的創作來源。在南京這個充滿縱情放逸的享樂世俗氛圍,可以逍遙無拘地生活與創作,又有大批富豪贊助者支持著藝壇活動的城市,這個讓他恣意揮灑人生與才華的古都,是吳偉終其一生都無法忘懷離開的美麗風景。 對吳偉而言,能夠無拘自由地生活與創作才是最重要的,於是他縱酒嗜醉、狎妓宴遊、尋歡作樂,這種遊戲人生的態度亦體現在其作品中。吳偉的仕女畫,尤其偏好以青樓女子入畫。而明代反映青樓文化的作品為數眾多,與其他畫家相比,如唐寅,通常取材自古時才子佳人的風流韻事,並多以隱晦的含意與手法進行描繪,然而吳偉卻能直接無諱地將私下擁妓同歡的生活躍然紙上。他放浪形骸的性格、流連青樓的經歷與充滿感情的創作緊密完整的結合在他的仕女畫中。吳偉本人的不循塵俗的作風與氣質同樣釋放在他的道釋畫裡,吳偉將自身的影子投射其中,使得他筆下的仙釋人物不再遙不可及,作品中帶有強烈存在感的粗放筆墨與線條之特色,使人無法忽略畫家本人的存在,吳偉同樣將本身的繪畫特色與自身寫照成功地結合在畫裡。吳偉特別取材自乞丐的風俗畫作品也展現了他獨特的創意,他不同於周臣從嚴肅教化的角度出發,而以略帶幽默戲謔的手法描繪了這群小人物的喜怒哀樂,刻畫了他們不同的生命意趣。吳偉離經叛道的性格與行為,挑戰傳統的創作思維,正是他有別於歷來畫家之處。 「小仙」這個名號與吳偉精彩絕倫的畫風相結合,加上他玩世不恭的性格點綴其中,遂成為吳偉人畫合一的最顯著辨識特徵。吳偉之所以能在明中葉盛受崇讚,並不僅是因為他的個人魅力與超凡技藝,其作品中所蘊含的豐富情思與意趣及其所反映的社會文化也是吳偉能夠受到廣大歡迎的要素。吳偉這位備受各界推崇賞識的宮廷與職業畫家,在當時得到南北兩京與蘇州畫壇的推重,其魅力席捲了封建帝王貴族與儒雅文人士子兩大群體,在藝術上獲得了廣大的成功與影響力。 Wu Wei (1459-1508) was a painter with distinguishing characteristics both in personality and art. He was a legend in his own lifetime. Wu Wei was adored as a hero and a immortal by two emperors in Ming Dynasty, and he was laurelled the title of “Hua Zhuang Yuan” which means “The Best Painter” that no one ever owned in art history. With good fortune, Wu Wei never had a hard time in his career. Wu Wei was proficient in paintings of landscapes, figures, and birds and flowers. The landscape and figure painting were especially outstanding in Chinese painting history. The style of Wu Wei’s art was famous for the eccentric as well as the refinement. This study will focus on the figure painting of Wu Wei. Nanjing was the major city where Wu Wei worked and lived in. He painted a lot about the culture and the lifestyle of this metropolis. The romances that happened at the Chin-Huai river were the best inspiration to him. Wu Wei knew various intellectual and sponsors who could support his career in Nanjing, a prosperous and vanity city. Wu Wei lived there indulgently and was very creative without any restrictions. He spent all his life and talent in this ancient capital and could not dismiss the beautiful scenery from his mind. It was important to live and paint freely for Wu Wei. He liked drinking, reveling and having parties with courtesans, and those experiences of life revealed abundantly in his pictures. He also was in favor of painting the image of prostitute. In Ming dynasty, lots of paintings were about the romances between literati and prostitute. Except Wu Wei, many other painters, such as Tang Ying, usually drew in an obscure way on this subject. However, Wu Wei expressed his experiences with courtesans by paintings in a direct way. “The Ladies” is the masterpiece which combined tightly of his personality, the life, and the creativity. The unorthodox behavior and the great imagination of Wu Wei also showed in his Taoist and Buddhism Painting. The immortal of the figure was often another image of himself. Also, the vigorous and striking brush made the viewers can’t ignore the existence of the painter. Therefore, Wu Wei connected successfully himself with the figure in the painting. “The Genre” is another amazing painting of Wu Wei to show the beggars. In the same era of Wu Wei, another famous painter called Chou Chen used a serious and pessimistic way to express the beggars. But Wu Wei described those people of low positions in the society in a humorous and optimistic way. It is Wu Wei’s unconventional behaviors to make him so different to other painters. Wu Wei’s style name, “Hsiao-hsien,” which means “Little Immortal” can fully identified the unrestrained personality. The reasons for Wu Wei was highly praised and adored were not only his brilliant skills and charm but also the passion and delight that was conveyed through his painting. Wu Wei was both a court and professional painter in Ming Dynasty. He was highly admired and commended by emperors, nobilities, and those intellectuals lived in Beijing, Nanjing and Suzhou city. He had deep influential in Chinese painting and got great fame and achievements in art.
    Appears in Collections:[藝術學研究所 ] 博碩士論文

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