| dc.description.abstract | 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. | en_US |