俞明（1884-1935）繪畫研究;The Study of Yu Ming′s (1884-1935) Paintings

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题名:	俞明（1884-1935）繪畫研究;The Study of Yu Ming′s (1884-1935) Paintings
作者:	田伊婷;Tien, Yi-Ting
贡献者:	藝術學研究所
关键词:	俞明;俞原;徐宗浩;金城;海上題襟館;古物陳列所;中國畫學研究會;湖社畫會;人物畫;Yu Ming;Yu Yuan;Xu Zonghao;Jin Cheng;Haishang Tijinguan;Antiquities Display Hall;Chinese Painting Studies Association;Hushe Painting Society;figure painting
日期:	2020-01-08
上传时间:	2020-06-05 17:48:40 (UTC+8)
出版者:	國立中央大學
摘要:	本論文研究清末民初畫家俞明（1884-1935）的生平與作品。依照俞明人生各階段中主要的活動地點進行分期並安排章節，深入挖掘史料探查俞明曾參與之社會活動，並廣為蒐集圖版資料、對作品進行風格分析，以歸整出俞明人生各時期的創作風格變化與視覺素材來源，釐清他是如何形塑出具有個人特色的人物畫風格。全文除緒論與結論共三章，每一章分兩節，首先梳整史料以瞭解俞明所處的環境背景與參與過的活動，而後對該時期作品進行風格分析。第一章第一節藉由對俞明的叔叔俞原（1874-1922）與其所屬的上海書畫社團《海上題襟館》，進行社交活動資料的整理，來瞭解俞明在事業起步時具有的人脈條件優勢，如上海名書法家褚德彝（1871-1942）對俞明畫藝的指點，並得知俞明約在1914至1915年間受金城（1878-1926）之邀赴北京古物陳列所臨摹古畫。第二節中分析俞明早期創作的期刊封面美人圖，來理解俞明所掌握的西畫技巧和畫面風格。第二章第一節討論民初北京藝文圈的狀況，以及與俞明有關的重要人物、社團與藝文活動。第二節對該時期俞明作品進行風格分析，分成臨摹、合作與個人創作三大類別。第三章第一節透過整理史料以瞭解俞明在1926至1929年間回到上海之後的生活情況，得知此時期的俞明與上海地區舊識恢復聯繫，也與北京地區的朋友保持聯絡。第二節中按照這段時期的作品主題進行分類，透過風格分析來瞭解過去的臨仿經驗在作品中反映出哪些特點，俞明的獨創性又是如何呈現。;This paper studies the life and works of Yu Ming (1884-1935), a painter living in the transition period from the Qing dynasty to the Republic. Based on in-depth historical research, it uncovers Yu Ming’s activities; it also collects a large number of images of Yu Ming’s works for stylistic analysis, so as to delineate changes in his artistic style through his career, trace the different visual resources that Yu Ming used in his works, and figure out how he formulated his unique figure painting style. Apart from the introduction and conclusion, this paper is divided into three chapters, chronologically arranged, based on Yu Ming’s main activities: Shanghai in his youth, Beijing in his prime years, and then back to Shanghai, where he lived in seclusion. In Chapter One, by sorting through historical materials on Yu Ming’s uncle, Yu Yuan (俞原, 1874-1922), and on the artists’ guild “Haishang Tijinguan” 海上題襟館, in which Yu Ming participated, we can understand the advantages that Yu Ming had when he started his career, e.g., getting advice from the famous Shanghai calligrapher Chu Deyi (褚德彝, 1871-1942), who knew Yu Ming via his uncle, being invited by Jin Cheng (or Kungpah T. King金城, 1878-1926) to see the “Antiquities Display Hall” 古物陳列所 in 1914-1915. The second part of the chapter analyzes some of Yu Ming′s early works—a series of magazine covers for the literary journal Novel Daily News 小說新報—in order to understand the Western painting techniques that Yu Ming had mastered. The first section of Chapter Two discusses Beijing art circles in the early Republic era and the important figures, associations, and cultural activities related to Yu Ming. The second part, which analyzes Yu Ming’s works from this period, shows that they may be divided into three categories: imitations, collaborative works, and Yu Ming’s own creative works. The first part of Chapter Three sorts through historical materials in order to shed some light on Yu Ming’s living situation after he returned to Shanghai. He resumed contact with his old Shanghai acquaintances while keeping in touch with his friends in Beijing. The second part categorizes Yu Ming’s works in this period by theme: beauties, historical figures, hermits, and Buddhist figures. Through stylistic analysis, we can understand how the characteristics of his past experience with imitations reflect on the works of this period, and how the originality of Yu Ming’s work is manifested.
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