法若真(1613-1696)的山水畫研究;The Landscape Paintings of Fa Ruo-zhen(1613-1696)

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Title:	法若真(1613-1696)的山水畫研究;The Landscape Paintings of Fa Ruo-zhen(1613-1696)
Authors:	史偉成;WEICHENG, SHI
Contributors:	藝術學研究所
Keywords:	法若真;山水畫;「奇」;北地文化屬性;Fa Ruo-zhen;Landscape Paintings;qi;Northern Culture Identity
Date:	2018-01-09
Issue Date:	2018-04-13 11:31:56 (UTC+8)
Publisher:	國立中央大學
Abstract:	本論文以法若真（1613-1696）為個案研究，主要是釐清法氏其人其藝，並將他放在清初特殊的北地文化環境中，來重新檢討其畫史的意義與價值。通過深入挖掘他的畫蹟與原始史料，以畫作風格分析和文獻參照之原則，冀望回歸法氏藝術家的身分，看他是如何形塑其獨具特色的山水畫風格。全文除緒論及結論外，共分三章。第一章經由爬梳文獻史料，來進一步認識法若真的生平與交遊，發現丙戌科（1646）考試引起的仕途、交友是理解其人生的關鍵，其中以清初北方鑑藏界對他的影響是揭示其畫業發展進程的突破點。第二章則進入風格形式的具體分析，說明其畫風的來源及發展。法氏早期由「元四家」上溯當時北方畫家直接摹倣董巨畫派的畫法，大約1670年代中期開始上追五代宋初北方大家的風格特質。雖然有些作品與當時金陵、安徽的畫家有類似之處，不過很難就此認定為是模仿，仍舊是按其個人風格而發展，並在1680年代中期後形成雄渾奇崛的獨特山水風格。第三章由後世對他繪畫「奇」的評價，看待此一美學是如何體現在他書法和繪畫之中的。而此一「奇」與當時南方不同，實是北地文化環境薰陶的產物。最後，可以知道法若真這一系列山水畫並沒有所謂的政治性，純粹是當時文化環境及其個人風格發展的結果。 ;This paper mainly discusses Fa Ruo-zhen (1613-1696) and the significance and value of his works in the painting history. Based on the analysis of his painting style and related documents, the paper puts him in the specific northern cultural background of early Qing Dynasty and digs into his paintings and historical materials, in order to figure out how his unique landscape painting style is formulated. Apart from the introduction and conclusion, the whole paper is divided into three chapters. By sorting out historical documents, the first chapter helps us to learn his lifetime experience and social connections. His official career and interpersonal friendships after the 1646 Imperial Examinations are of crucial importance to understand his whole life, in which the influence of northern collectible identification circle on him is the breakthrough point to reveal the development process of his works. In Chapter two, we analyze and figure out the origin and development of his painting style. In his early period, Fa learns from Four Yuan Masters (Yuan Si Jia 元四家) and then Tung-Chü (董巨) style which imitated directly by the northern painters. Since the middle 1670s, his works show the style and characteristics of northern painters in the period of the Five Dynasties and Song Dynasty. Although some of his works resemble those painters in Nanjing and Anhui, it is farfetched to identify them as imitation. His works during this time develop mainly on his own style and finally form into a unique powerful and singular style in the middle 1680s. In Chapter three, through analyzing the evaluation of the “qi” of his works by the later generations, we will find out how his unique aesthetic style is embodied in his works. Besides, it distinguishes from the south painters as it is actually nourished and bred by the northern culture. To conclude, Fa Ruo-zhen’s landscape paintings have no political intention, but are purely the result of the cultural influence at that time as well as the natural evolution of his own painting style.
Appears in Collections:	[Graduate Institute of Art Studies] Electronic Thesis & Dissertation

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