清乾隆朝仿古绘画研究

发布时间：2018-03-14 00:20

本文选题：乾隆朝　切入点：仿古绘画　出处：《中央美术学院》2013年博士论文　论文类型：学位论文

【摘要】：本文关注的是清乾隆朝(1736-1795)画院中出现的仿古绘画现象。通过对材料的细致梳理,在数量比例、活跃时段、内容类别等方面详加考察,厘清乾隆朝仿古绘画的整体面貌。文章分别选取仿古人物画、仿古山水画、仿古花鸟画中的典型案例进行深入剖析,以回归历史语境的方式,揭示出不同层面仿古绘画实践的实现途径与丰富意涵。文章分别探讨了仿古行乐图中皇帝形象、虚拟场景与多重身份之间的关系,《仿倪瓒狮子林图》中图画、实景与建筑之间的关系,《三阳开泰图》中节令、灾害与祈福之间的关系。乾隆朝仿古绘画具有自身独特的绘画风格、临仿模式与实际功能。内府收藏的极大丰富,为仿古绘画活动开展提供了古画资源。乾隆朝不仅存在仿古绘画,还存在大量的仿古书法与仿古器物。这明确体现出乾隆帝的仿古观念。乾隆朝仿古实践所仿之古为汉文化之“古”。这种仿古实践的开展,来自当下“今”之政治与文化需要。
[Abstract]:This paper focuses on the ancient painting phenomenon in the Qing Dynasty Qianlong Dynasty (1736-1795). By carefully combing the materials, examining the quantity ratio, active period, content category and so on, the paper clarifies the overall appearance of the ancient painting of Qianlong Dynasty. In this paper, the typical cases of ancient figure painting, landscape painting and flower-and-bird painting are analyzed in order to return to the historical context. The paper discusses the relationship among the image of emperor, the virtual scene and multiple identities in the picturesque picturesque, and the pictures in "imitating Ni Zan Lion Lin Chart". The relationship between real scene and architecture, the relationship between disaster and blessing. The ancient painting of the Qianlong Dynasty has its own unique painting style, imitating mode and practical function. The abundant collection of the Inner House provides ancient painting resources for the development of the antique painting activities. There are also a large number of archaic calligraphy and artifacts, which clearly reflect the ancient idea of Emperor Qianlong. The ancient practice of the Qianlong Dynasty is the "ancient" of the Han culture. The development of this kind of archaic practice comes from the political and cultural needs of the present "present".
【学位授予单位】：中央美术学院
【学位级别】：博士
【学位授予年份】：2013
【分类号】：J209.2;K249.3

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