| 摘要: | 自東晉詩人陶淵明作「桃花源記」之後，「桃花源」一詞儼然成為中國人隱逸思想的最佳出處。而受到桃源思想的啟發，歷代畫家亦不乏以此為題材者。然而由於畫家對桃源思想的認知不同，再加上畫家個人風格的差異，今日呈現於我們面前的桃源圖亦各具風貌。本論文企圖藉由對清代畫院畫家王炳所作的〈仿趙伯駒桃源圖〉，來看宮廷畫家與民間自由創作者對此題材處理方式的差異，另外也希望重定王炳在清代末期院畫中的表現。另外兼論從這件作品的研究之中，所引出乾隆期設色山水創作的一些現象。 本文之圖版來源主要來自《中國繪畫總合圖錄》、《中國古代書畫圖目》、《故宮書畫圖錄》等中國繪畫作品總集。史料方面除歷代著錄以外，以《石渠寶笈》（初編、續編和三編）和《清高宗御製詩文全集》為最重要之分析來源。 在研究方法上，除採用一般史料綜合分析之外，在畫院創作部份並使用統計分析方式，將畫院創作的設色方式、使用材質，以及彼此之間的關係以數據呈現。 經由本文之研究，一方面可看出趙伯駒在清代設色山水中的影響，另一方面也發現乾隆時期的畫院畫家，雖然是為了滿足皇室的需求而作畫，然而卻因清代畫院中風格的多樣性，而可能出現不同的發展。另外也由於文人畫觀念的影響，乾隆時期的畫院設色山水作品多半以文人筆墨入畫，並且主要以使用紙為創作媒材。而當然的，本文也讓一位不知名的畫院畫家，得以重新被認識。 Since its first appearance in the writing of T'ao Yuan Ming, the term "Peach Blossom Spring" has become the classic Chinese expression of reclusion. Inspired by the thoughts of "Peach Blossom Spring," painters in different ages create a great amount of paintings on this subject. However, because of different imaginations and personal styles, these works may present quite different looks. This thesis focuses on "Peach Blossom Spring" by Wang Biang, a court painter serving at the Royal Painting Academy during the Qianlong reign, in order to observe and analyze the different expressions between a court painter and folk painters on the same subject, as well as to re-evaluate Wang Biang's paintings and reconsider his place in the Academy. Besides, some aspects concerning the making of the colorful style landscape paintings at the Academy of Qianlong reign will also be discussed. Most plates in this thesis are found in the Comprehensive Illustrated Catalogue of Chinese Paintings (University of Tokyo Press), Illustrated Catalogue of Selected Works of Ancient Chinese Painting and Calligraphy (in the National Palace Museum in Beijing and other museums on the mainland), Illustrated Catalogue of Painting and Calligraphy (in the National Palace Museum in Taipei), others are from certain catalogues of individual artists or special exhibitions. Sh'i Ch'i Bao Qi《石渠寶笈》 and Complete Works of the Emperor Qianlong《清高宗御製詩文全集》 are the two major sources of historical documents. Some other ancient records and criticism on paintings are used as well. In this thesis, in addition to the general analysis and synthesis of historical documents, some sort of statistical method is also used, especially in the part concerning the production of the paintings in the Academy. In this approach, the most used material, the method of coloring, and the relationship between the two of them will be shown and supported by statistical evidence. Moreover, the possible meaning of the proportion which colorful style landscape paintings occupies in the entire court paintings will also be discussed. Through this research, we can find that the influence of the Ch'ao P'o Chu's Blue-and-Green style continues in the Qinglong reign. However, the court painters, who paint to meet the royal demand, still have room to develop different ways of expression in the Academy of Qianlong reign, where there is a diversity of painting styles. Since the establishing of the Qing Royal Painting Academy, court painters have been combining traditional court paintings with the ideas and methods of the literati paintings, and one of the obvious result of this is the use of paper and the skill of brush and ink in the colorful style landscape paintings. Above all, it is the main purpose and hope of this thesis to bring some light on this poorly known court painter, Wang Biang. |
