| dc.description.abstract | 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 Sh’’i Ch’’i Bao Qi《石渠寶笈》 and Complete Works of the Emperor Qianlong《清高宗御製詩文全集》 are the two major sources of historical documents.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In this thesis, in addition to the general analysis and synthesis of historical documents, some sort of statistical method is also used, especially in the part concerning the production of the paintings in the Academy.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. | en_US |