臺北故宮藏兩幅《新豐圖》研究
dc.contributor | 王正華 | zh_TW |
dc.contributor | Cheng-hua Wang | en_US |
dc.contributor.author | 吳汶薇 | zh_TW |
dc.contributor.author | Wen-wei Wu | en_US |
dc.date.accessioned | 2019-09-05T02:03:47Z | |
dc.date.available | 2013-8-22 | |
dc.date.available | 2019-09-05T02:03:47Z | |
dc.date.issued | 2013 | |
dc.description.abstract | 本論文以現藏於臺北故宮博物院的兩幅《新豐圖》為研究對象,一幅名為《院本新豐圖》,一幅名為《唐岱等合筆新豐圖》。此二幅畫皆為乾隆朝的作品,《院本新豐圖》作於乾隆九年(1744),《唐岱等合筆新豐圖》則未紀年,經本論文研究,推測此圖應作於乾隆十年(1745)至乾隆十九年(1754)之間。 此二幅作品,畫上皆題了同一首乾隆帝的御製詩,且落款畫家為同一批宮廷畫家,因此本論文將兩幅《新豐圖》放在一起討論,以釐清兩者之間的關係。此外,《院本新豐圖》和《唐岱等合筆新豐圖》的風格和畫面內容截然不同,因此本論文推測乾隆朝先後製作兩幅《新豐圖》,應有不同的目的。 經本論文研究,《院本新豐圖》的製作目的有三:一為援引唐代李思訓、李昭道之山水樓閣界畫風格;二為整合以往的宮廷與城市生活圖繪;三為復興傳統界畫。《唐岱等合筆新豐圖》的製作目的有二:一為修正對李思訓、李昭道風格之詮釋;二為沿用圓明園實體建築圖繪,暗喻「新豐」即如同圓明園,為一理想之帝王居所。 透過兩幅《新豐圖》的研究,我們得以進一步了解乾隆朝界畫的特色。由於明代界畫的發展有衰退的現象,其一表現在建築母題多流行於其他視覺媒材,而非繪畫,使界畫成為繪畫史的末流;其二表現在風格趨於裝飾性,而忽略了傳統界畫所追求之建築空間和結構的寫實性。因此,乾隆朝製作系列「院本」(包括《院本新豐圖》),應有復興傳統界畫的目的。其復興的方式,一為重新詮釋舊有的界畫題材,和擴充新界畫題材;二為運用西洋透視法,來回復傳統界畫訴求之「寫實」效果。 | zh_TW |
dc.description.abstract | This thesis is focusing on the study of two paintings in National Palace Museum, The Official New City of Feng, and The New City of Feng by Tangdai and others. Both of these two works belong to Qianlong court paintings, The Official New City of Feng was created at 1744, and The New City of Feng by Tangdai and others actually has no date. But according to this study, The New City of Feng by Tangdai and others probably can be dated back in 1745 to 1754. These two works has both been inscribed on the same poem made by Qianlong, and were finished by the same group of court painters. Based on the common ground they shared, this thesis is mainly about putting them together and trying to reconnect the relation between these two. Furthermore, despite the familiarity both side possessed, The Official New City of Feng and The New City of Feng by Tangdai and others has different style and images from each other. Therefore, they are considered to be made with different intentions. This thesis will prove that The Official New City of Feng was made with three purposes. The first is to quote Li si-xun and Li zhao-dao's painting style, who are one of the most famous boundary painter inTang Dynasty. Secondary, it is made to integrate court and city life images; and last but not least, it is for reviving traditional boundary painting. On the other hand, The New City of Feng by Tangdai and others has two purposes: one is to reinterpret Li si-xun and Li zhao-dao’s style and the other is by quoting Yuanmingyuan’s architectural images to metaphorize that the “New city of Feng” is an ideal imperial residence as Yuanmingyuan. According to the study, we are now able to have a better peek of Qianlong court boundary painting. In the Ming Dynasty, boundary painting was under an recession and it can be discovered by two points. First of all, architecture motif is showing up not just on painting anymore but all other kinds of visual media as so it leads to the result that boundary painting was becoming the inferior category. The other one is as result of the fact the architecture style was getting more and more decorative and going further from the traditional realism. Hence, Qianlong court made series of official boundary paintings(The Official New City of Feng) in the purpose of reviving traditional boundary painting. The revitalization can be seen in two major ways: reinterpreting old architecture themes and expanding new themes; using Western perspective to achieve realism. | en_US |
dc.description.sponsorship | 藝術史研究所 | zh_TW |
dc.identifier | GN0698970120 | |
dc.identifier.uri | http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0698970120%22.&%22.id.& | |
dc.identifier.uri | http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/102347 | |
dc.language | 中文 | |
dc.subject | 新豐圖 | zh_TW |
dc.subject | 乾隆朝 | zh_TW |
dc.subject | 宮廷繪畫 | zh_TW |
dc.subject | 界畫 | zh_TW |
dc.subject | 李思訓 | zh_TW |
dc.subject | 李昭道 | zh_TW |
dc.subject | The New City of Feng | en_US |
dc.subject | Qianlong Dynasty | en_US |
dc.subject | Court Painting | en_US |
dc.subject | Boundary Painting (Chieh-hua) | en_US |
dc.subject | Li Si-xun | en_US |
dc.subject | Li Zhao-dao | en_US |
dc.title | 臺北故宮藏兩幅《新豐圖》研究 | zh_TW |
dc.title | Research on The New City of Feng in National Palace Museum | en_US |
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