十九世紀「江南／海上」美人圖／詠研究 ——才子、女性及文化市場脈絡;The Jiangnan and Shanghai Beauty Portrait and Criticism In 19th Century Study—Talents、Talented Women/Lady and Cultural Market Context

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题名:	十九世紀「江南／海上」美人圖／詠研究 ——才子、女性及文化市場脈絡;The Jiangnan and Shanghai Beauty Portrait and Criticism In 19th Century Study—Talents、Talented Women/Lady and Cultural Market Context
作者:	郭相佑;Kuo, Hsiang-Yu
贡献者:	中國文學系
关键词:	《百美新詠圖傳》;《列女圖冊》;《紅樓夢圖詠》;美人圖／詠;改琦;吳友如
日期:	2022-09-22
上传时间:	2022-10-04 10:51:04 (UTC+8)
出版者:	國立中央大學
摘要:	本論文以清代中晚期作為時空背景，以當時兩位「海上」著名畫家改琦與吳友如的作品為考察對象，探討十九世紀「海上」文藝圈中美人圖詠的承繼與轉變。晚明時期，人物寫真小像開始風行，其中《吳姬百媚》與《金陵百媚》等將名妓小像與文人題詠集結成冊出版的情況，形成了美人圖詠的傳統。至清中葉，顏希源編纂，王翽繪《百美新詠圖傳》問世，大致延續了道統女性觀，這種情況到改琦與曹貞秀合作的《列女圖冊》有了變化，美人圖／詠呈現了女性的主體性。此時，才女社群的興起使女性互相交流詩歌的情形更加頻繁，對歷史與傳奇中的女性不再以父權視角的道德觀來評價，而是從女性自身的情感貼近她們。在同時期的人情小說《紅樓夢》中，女性人物黛玉與寶琴吟詠古代美人的情節，亦能說明女性詠美風氣的盛行，影響及於清代中後期的才女周綺與汪端，她們透過凝視他者，尋找自我主體性，安頓自身生命，從而形成一種對「美」的價值判斷，使當時的「海上」文藝有不同的面貌。改琦《紅樓夢圖詠》於光緒年間出版後，另一位「海上」畫家王墀亦創作了《增刻紅樓夢圖詠》，是對《紅樓夢圖詠》承繼與創新，從改琦與王墀圖像創作的時代落差，更能表現出紅樓圖像在不同時期的變化。晚清的「海上」畫派與市場機制互相依存，因此大眾流行的通俗文化特徵也加入了「海上」文藝圈中，海上三任和吳友如皆為此時期的著名畫家，海上三任以任熊為例，承繼陳洪綬技法，與他自己豐厚的想像力，再加上他所接觸的現代西方繪畫，形塑出中西合壁的風格特徵，也影響到海上其他畫家，而吳友如至上海學習繪畫，受《點石齋畫報》聘僱，他的圖像須與時事結合，亦受西方攝影、繪畫影響，以致他的繪畫風格較寫實，也形成不同的「海上」美人圖的風格變化。本論文透過清中葉到末葉的時間跨度，觀察女性從被觀賞的對象，轉向擁有主導權，亦從圖畫中人物形象轉變，觀察到大眾流行的變化，從而歸結出清中末葉海上「美人」圖／詠文化的衍化變遷歷程。 ;This thesis take the painting of two outstanding painter of Chi Gai and Yu-Zu-Wu as example, explore the inheritance and transformation of 19th century“Shan-Hai Beauty Portrait ”from mid-and late Chin Dynasty. In the time of late Ming Dynasty, the portrait start to be a trend. The most two classic books which publish these portraits were Wu Ji Baimei and Jinling Baimei, these two books put those beauty portraits and the criticisms of those portraits from the literati in a book, formed the tradition of beauty portrait criticism. To mid Ching Dynasty, Baimei Xinyong Picture Biography which was edited by Si-Yuan-Yan and painted by Hui-Wang established, this book roughly inherit orthodox female perspective. However, the situation in the Virtuous Women Atlas changed, the criticism of beauty portraits presented “Women Subjectivity”. In this time, the rose of talented ladies made the talented ladies to change the opinion toward poetry from each other rapidly, these talented ladies no more criticized the women/ladies in the history or legendry from ethic of patriarchal aspect, but from the sentiment of themselves as a woman/lady. Meanwhile, The secular novel — A Dream of Red Mansions, Dai-Yu-Lin and Bao-Cin-Syue who criticized the ancient beauty section, could explain beauty criticism of ladies / women was a trend at that time as well. This trend also continue impact on the mid late Chin Dynasty talented lady Ci-Jhou, and Duan-Wang，they try to find“ Self-Subjectivity” and find a place for their destiny through starring other people then formed a kind of beauty- judgement , make Shanghai literacy circle presence different aspect. After A Dream of Red Mansions portrait and criticism which was published in Reign of Emperor Guanxui in the Chin Dynasty, and drown by Chi-Gai. The other painter Chih-Wang, also created increase engrave of A Dream of Red Mansions portrait and criticism, this could be regard as a inheritance and innovation of A Dream of Red Mansions portrait and criticism. The difference aesthetic between Chi-Gai and Yu-Zu-Wu could present the aesthetic changed of A Dream of Red Mansions in different time more. The school of Shanghai painters were interdependent on market mechanism, therefore, they also put the characteristic of common culture in mass fashion in the Shanghai literacy circle, the Zen-Trio of Shanghai literacy circle and Yu-Zu-Wu were the famous painters in this time. Take one of painter of Zen Trio—Syong-Zen as example, he inherit the skill which was created by Hong-Shou-Chen, his rich imagination, with the paintings he had accessed in Western world, Syong-Zen had shaped the characteristic of a combination Chinese and Western elements on his painting, this, influence on other painters of Shanghai Literacy circle as well. Yu-Zu-Wu had been to Shanghai for learning painting, he was employed by Dianshizhai Pictorial, so that, his paintings have to present ongoing things, Yu-Zu-Wu also deeply be impacted by Western photography and paintings, so that his painting style close to the reality mostly, form the different and change of aesthetic of Shanghai beauty portrait. This thesis observe the change of women/ladies from an appreciating object to have the power of dominance, and the image-change of people in the paintings to observe the change of mass culture to conclude the process of change and development of Shanghai Beauty Portrait in the mid-and late Ching-Dynasty.
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