| 摘要: | 自唐代起，兒童題材繪畫即趨於成熟，此後主題多不離唐人路德延（約898-924）〈孩兒詩〉中內容。行至清代，兒童題材繪畫在沿襲前代主題與母題的同時，其世俗性更甚，並摻雜了成人生活之意趣。生活在動盪變革的十九世紀前中期的王素，作為揚州知名畫家，其画作呈現了兒童題材繪畫於清代的高峰。
本論文將聚焦於王素一生繪製的兒童主題畫作，與其生平事跡和繪畫風格的發展。太平天國戰亂之始末是王素的人生境遇與繪畫藝術之轉折點，故本文第一章將從古籍、畫作、信劄等資料中分段討論至同治二年（1863）止，王素所處之社會環境與其生平交誼，及其繪畫藝術風格的師承、發展、確立和轉變的過程。第二章將討論王素中年兒童主題畫作的傳承與創新。首先在王素中年作品中探及其筆下呈現的時代特性，其次將以其嬰戲圖的集大成之作《百子嬰戲圖》為例，解讀王素對〈孩兒詩〉、百子嬰戲、明清流行和其新創的嬰戲圖案的表現。第三章將探究王素晚年（1863-1877）畫風的再度轉變與對寫生的重視，以及在十九世紀中期他對鄉村兒童這一群體超前的關注，繼而討論其晚年兒童題材畫作中對村童生活之放牧勞作的描繪，最後略論王素對後世的影響。;Paintings of children already began to develop in the Tang Dynasty, but later on their imagery was based mostly on the late Tang poet Lu Deyan’s (路德延, c. 898-924) Haiershi (孩兒詩 or Poems on Children). They reached the height of fashion during the Northern and Southern Song Dynasties. In the Qing Dynasty, the subgenre of paintings of children known as yingxitu (嬰戲圖) or “children at play” inherited but also further expanded the traditional themes and pictorial motifs, but they also catered more to popular taste, with an admixture of things appealing to adults. Living in the turmoil in the mid-nineteenth century, Wang Su was a well-known artist in Yangzhou. Wang Su is considered the greatest practitioner of this kind of painting in the later Qing Dynasty.
This paper will focus on Wang Su’s paintings of children, his biography, and the development of his painting style. The Taiping Rebellion is a turning point in Wang Su’s life and art. Therefore, the first chapter will refer to contemporaneous books, paintings, letters, and other information to discuss pre-1863 Yangzhou (揚州), where Wang Su lived, his biography, his social circles, as well as the origin, development, establishment, and transformation of his painting style. The second chapter will discuss the heritage of paintings of children and Wang Su’s innovations on them during his middle age. First of all, the characteristics of the times presented in Wang Su’s paintings will be explored. Then, taking Wang Su’s masterpiece, Baizi yingxitu (百子嬰戲圖 or “One Hundred Children at Play”) as an example, this paper will explore how Wang Su’s painting inherits the Haiershi imagery and the subject-matter of the “hundred children at play” subgenre, how Wang Su made use of other popular yingxitu in the Ming and Qing dynasties, how the paintings relate with Wang Su’s other works, and what Wang’s innovations were. The third chapter will explore Wang Su’s painting style and changes in his later years (1863-1877), as well as his emphasis on sketching. Furthermore, attention that he paid to the special group of “rural children” in the mid-nineteenth century will be discussed. Subsequently, this paper will continue to discuss his portrayal of village children’s herding work through his later paintings of children. Last but not least, the influence of Wang Su on later generations will be studied as well. |
