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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/90271

    Title: 清初文臣高士奇(1645-1703)繪畫鑒藏品味研究;Study of the Early Qing Civil Official Gao Shiqi’s (1645-1703) Connoisseurship of Paintings
    Authors: 鍾國豪;Chung, Guo-Hao
    Contributors: 藝術學研究所
    Keywords: 高士奇;清初鑒藏圈;繪畫鑒藏品味;江村銷夏錄;Gao Shiqi;Early Qing Collection Circle;Connoisseurship of Paintings;JiangCunXiaoXiaLu
    Date: 2022-07-13
    Issue Date: 2022-10-04 12:24:49 (UTC+8)
    Publisher: 國立中央大學
    Abstract: 1645年,一代名臣高士奇於北京城外小縣城-固安誕生。數十年後,高士奇以書法與學識等才能陪侍於皇帝身邊,並結識多名文人摯友,在這段經歷,他的繪畫鑒賞技巧得到了提升,並逐漸形成自身鑒賞觀,而在他離開宮廷後,屬於高士奇個人的繪畫鑒賞觀,也隨之走入了大眾視野。關於高士奇的生平、文學等方面研究,皆相當充裕,繪畫鑒藏方面亦是高士奇相關研究的顯學,而在眾多研究中,對高士奇繪畫品味的討論,卻相當稀少。因此本論文試圖透過高士奇文集及繪畫著錄,以及現存、曾是高氏舊藏的繪畫作品,收集其中高士奇詩跋,將之與文獻搭配解讀,還原出高士奇個人繪畫觀點,並討論他在繪畫鑒藏圈中的歷史定位。

    ;In 1645 CE, Gao Shiqi (高士奇, c. 1645-1703) was born in Gu′an, a county near Beijing. Several decades later, Gao Shiqi joined the retinue of the Kangxi Emperor(康熙皇帝, c. 1654-1722) due to his skills of calligraphy and his literary knowledge, and became a well connected figure in the Emperor’s court. During this period, his painting appreciation skills enhanced and he developed his own method of appreciation. Gao’s life and work are popular topics for scholarly works. However, among the many studies, discussions on Gao′s taste in painting are quite rare. This paper attempts to collect Gao Shiqi′s inscriptions through his anthology and catalogs, as well as from existing or former paintings in Gao′s old collection, and interprets them together with the literature to restore Gao Shiqi′s personal views on painting and to discuss his historical position in the circle of painting appreciation.

    This paper is divided into three chapters. The first chapter focuses on Gao Shiqi′s life, social capital, and collection of historicaly important paintings. In the second chapter, I will discuss Gao Shiqi′s aesthetic of "Essence"(zhen, 真) and "Energy"(shen-qi, 生氣) - over three categories: landscapes, "Bird-and-flower painting "(huaniao hua, 花鳥畫) and "Portraits " (jen-wu, 人物) . In the third chapter, I hope to demonstrate how Gao′s collection influenced his stytle as an artist and his choices as a prominent taste maker in the mid to lateQing period and to inquire into the roots of his historical status.
    Appears in Collections:[藝術學研究所 ] 博碩士論文

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