陸恢（1851-1920）的山水畫研究;The Landscape Paintings of Lu Hui (1851-1920)

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Title:	陸恢（1851-1920）的山水畫研究;The Landscape Paintings of Lu Hui (1851-1920)
Authors:	黃一修;Huang, I-Hsiu
Contributors:	藝術學研究所
Keywords:	陸恢;吳大澂;海上畫派;正統派;Lu Hui;Shanghai School;Orthodox School;Wu Dachen
Date:	2020-01-20
Issue Date:	2020-06-05 17:48:43 (UTC+8)
Publisher:	國立中央大學
Abstract:	清末民初之際，一股新興的藝術勢力在上海地區配合當時歷史背景，迅速發展成日後有名的海上畫派，畫家以多變求新的風格應對快速轉變的市場。但在迅速變遷的上海畫壇，卻有一群以清初「正統派」為特色，遵循傳統畫法的蘇州畫家，以深厚的繪畫功力在變化萬千的上海保有一席地位。本論文將聚焦於清末正統派畫家陸恢的山水畫題材，與其生平事跡和繪畫風格的發展。陸恢（1851-1920）早期跟金石大家吳大澂（1835-1902）多活動於蘇州地區，後來離開吳大澂幕府前往上海，成為陸恢人生境遇和繪畫追求的轉折。故本文第一章將從古籍、畫作、題跋甚至墓誌銘等史料討論陸恢的生平交誼以及參與的社團活動。第二章將討論陸恢早期在吳大澂幕府時期，如何運用吳氏收藏精進自身的畫藝，其次將以陸恢早期山水畫仿作對象進行分析，以釐清陸氏正統派繪畫風格的建立。第三章將探究陸恢自離開吳大澂幕府到上海時期（1897-1911）風格追求上的轉變，以及這段期間擔任龐萊臣（1864-1949）門客時幫忙鑑賞的經歷，進而討論《虛齋名畫錄》對陸恢畫藝上帶來的改變。最後略論陸恢對後世的影響。 ;In the late Qing Dynasty, an emerging artistic force quickly developed and later became the famous Shanghai School. The group gathering plenty of painters near Shanghai area soon dominated the rapidly changing market with various styles of artworks. However, in such a changeable market, a group of Suzhou painters using the traditional and profound painting skills tried to retain the style of "Orthodox School." Lu Hui (陸恢, c. 1851-1920), a well-known painter from Suzhou, was considered as one of the greatest practitioners of "Orthodox School" in Shanghai School. This paper will focus on Lu Hui’s landscape paintings, his biography and the development of his painting styles. Lu Hui followed the epigrapher Wu Dachen (吳大澂, c. 1835-1902) and joined Wu’s bureaucracy in his earlier time. Leaving Wu’s system became an important turning point of Lu Hui’s life and art afterwards. Therefore, the first chapter will refer to contemporaneous books, paintings, annotations and even epitaphs to discuss Lu Hui’s social activities as well as his biography. The second chapter will focus on Lu’s early landscape paintings finished during the time in Wu Dachen’s bureaucracy and figure out how Lu Hui used Wu’s collections to improve his painting skills and establish his own style connecting with "Orthodox School." The third chapter will center around the time from 1897 to 1911 that Lu Hui moved to Shanghai to help another collector called Pang Laichen (龐萊臣, c. 1964-1949) and explore not only Lu Hui’s painting style but changes in his late year. Subsequently, this chapter will discuss Lu Hui’s experience of helping Pang Laichen make up his own collection catalogue, Xuzhai Minghua Lu《虛齋名畫錄》(A Record of the Xuzhai Collection, 16 volumes), and how this experience brought influence to Lu’s artworks eventually. At last, the influence of Lu Hui on later generations will be discussed as well.
Appears in Collections:	[Graduate Institute of Art Studies] Electronic Thesis & Dissertation

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