王正華Cheng-hua Wang童芃Tung Peng2019-09-052013-8-282019-09-052013http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0698670118%22.&%22.id.&http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/102345本文聚焦焦秉貞現存的四件仕女圖繪，分別從人物形象、空間營造及藝術手法等部分切入，逐步釐清這些作品在盛清宮廷以及中國傳統仕女畫譜系中的定位。經本文研究，焦秉貞的仕女圖繪不但繼承了傳統仕女畫既有的主題，更重要的是，焦秉貞將晚明以來，文人筆記小說中對於觀看美人的陳述，一一具體呈現，顯示出焦秉貞的仕女圖繪與傳統之間的深刻鏈結。 　　除了回應傳統的審美品味外，焦秉貞也援引了西洋圖示的構圖及透視技法，使他的仕女圖繪具有前所未見的新奇效果。特別是對於線性透視法的使用，並非僅是受到尚奇心理的驅使，焦秉貞依據每件作品各自的成畫目的，有意識的選用不同的透視技法，以便加強作品或規鑑或賞玩等功用。於此同時，從焦秉貞作於不同時期的四件仕女圖繪對於線性透視法的使用差異，也可看到畫家為了減緩透視法對中國觀者所造成的視覺衝擊，逐步調整進而取得平衡的過程。 　　時至乾隆年間，仍可在其他清宮畫家的仕女畫作上，見到焦秉貞的藝術風格及表現手法，可見焦秉貞確實為清宮創造了一種新型態的仕女畫典型。換言之，從康熙四十年左右起，一直到乾隆初年，清宮的仕女圖繪長達四十年的時間，幾乎都是由焦秉貞所主導。由此可知，焦秉貞之於中國的仕女圖繪，不但作為傳統的延續者與革新者，更是盛清宮廷仕女圖繪典範的立基者。 　　此外，透過本文對於清初山東地區基督宗教發展概況的爬梳，以及對於泰安岱廟壁畫的研究可知，在康熙初年，作為一位山東的教徒，可能自有學習西法的管道。因此，同樣身為山東教徒的焦秉貞，其對於西洋技法的學習很有可能是始於入宮之前。若重新思考清初西洋文化與宮廷之間的互動過程，也許正是因為有一批同焦秉貞一樣，在入宮前便有接觸西洋文化背景的官員，成為兩種文化相遇時的緩衝，才使得清宮與西方之間的交流產生更多對話的可能。Focusing on Jiao Bingzhen's four gentlewoman paintings in existence, this thesis tries to shed light on these painting's position in Chinese and Qing court by analyzing the figure's image, spatial construction and technique. Based on this study, Jiao Bingzhen not only had inherited the theme of traditional Chinese gentlewoman, but more importantly, had represented in detail the descriptions of beauties in late Ming essays and novels. In addition to responding to traditional aesthetic tastes, Jiao Bingzhen had also introduced western illustration's composition and perspective techniques, giving his gentlewoman paintings effects never seen before. Particularly his use of linear perspective, which is not driven only by curiosity, Jiao Bingzhen conciously chose different perspective techniques based on each work's purpose, enhancing its function. At the same time, the variations in linear perspective technique application among the works, shows the gradual process the painter took to reach equilibrium and reduce the shock of perspective technique on Chinese viewers. Until Qianlong reign, some of gentlewoman paintings in Qing court are still influenced by Jiao Bingzhen. Indeed, Jiao created a new genre of gentlewoman painting for Qing court. In other words, Jiao led the gentlewoman painting’s style in Qing dynasty for at least 40 years, from Kangxi 40 to beginnings of Qianlong Reign. Jiao was not only a successor and a reformer of tradition; he was also a founder of Qing court gentlewoman painting. Moreover, from study of the general state of early Qing Christian religion’s development in Shandong and research on Dai Temple’s mural, we can suppose that, as a Christian, there were unique sources to learn western technique. That is to say, as a Christian in Shandong, Jiao Bingzhen maybe had been learning the western technique well before entering Qing court. If we reconsider the interaction between the West and the Qing court, perhaps it is because the same officials in Qing court, who, like Jiao, were exposed to western culture before entering the court, acted as intermediaries, which provided the possibility for more cultural encounter between the West and Qing court.焦秉貞仕女圖繪康熙朝中西交流Jiao BingzhenGentlewoman PaintingKangxi ReignSino-Western Encounter