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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/70363

    Title: 與謝蕪村雪夜景圖研究;A Study on Yosa Buson′s Snow and Nightscene Paintings
    Authors: 李惠芳,;Li,Huei-Fang
    Contributors: 藝術學研究所
    Keywords: 與謝蕪村;謝寅時代;雪景圖;夜景圖;雪夜景圖;《夜色樓台圖》;夜景三部曲;Yosa Buson;Sha’in Peroid;snowy paintings;nightscene paintings;snowy nightscene paintings;Houses on Snowy Night;Triology of Night Scenes
    Date: 2016-04-27
    Issue Date: 2016-06-04 12:56:37 (UTC+8)
    Publisher: 國立中央大學
    Abstract: 與謝蕪村(1716-1783),江戶南畫家,63歲後落款「謝寅」,其繪畫風格逐漸走向揮灑、自若的成熟表現,此後被稱為「謝寅時代」(1778-1783)。進一步翻閱「謝寅時代」之作,主要可見兩類風格。除了《夜色樓台圖》、《峨嵋露頂圖》、《鳶鴉圖》成熟快意之水墨印象,較為人熟知以外,其餘作品多為援用中國典故題材,使用細緻皴法創作的山水人物畫。兼容並存的表現,顯示蕪村即使晚年提升至另一畫藝新境,卻仍持續琢磨中國風格,使用細緻精微的筆墨,保有繪畫表現的多面性。然而,蕪村晚年畫業的多面性,卻是一般人較陌生的。

    ;Yosa Buson (1716-1783), a Nanga painter of the Edo Period, signed “Sha’in” after his 63, and his career from 1778 to 1783 is called the “Sha’in Peroid.” During this period, his paintings showed more and more spontaneous and free expression. However, there are two main styles in the “Sha’in Peroid.” One is known as spontaneous ink expression, such as Houses on Snowy Night, Peaks of Mount Gabi and Kite and Crows. The other type is the works which used delicate strokes and quoted Chinese classic allusions. The two completely different styles show that Buson had been working on Chinese style even when he stepped on a new stage of career. Buson’s versatility in his late life, however, is not familiar to many modern viewers.

    This study aims at showing both sides of Buson’s late styles by discussing the painter’s snowy and night scene paintings. By viewing the various characteristics of Buson’s works, we will understand the styles of his late life deeper.
    Appears in Collections:[藝術學研究所 ] 博碩士論文

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