清末民国时期博古画的形成与表现

发布时间：2018-01-02 13:36

本文关键词：清末民国时期博古画的形成与表现　出处：《河北师范大学》2017年硕士论文　论文类型：学位论文

【摘要】：“博古图”这一词语最早出现于北宋徽宗时期编著的《宣和博古图》之中,是描绘著录当时所见商周时期青铜器形制与图案的绘本图谱作品。一直到明代,“博古图”这一词语的概念都很稳定。到了明代中晚期,又出现了一种描绘文人集会鉴赏古物场景的“博古图”作品。可以说,博古题材作品从产生之后,其发展就一直未曾间断。清代初期到中期,宫廷画家以传世的明代“博古图”为蓝本,创作了表现宫廷女子鉴赏古物的博古题材绘画作品。清末民国时期,又出现了把金石鼎彝的全形拓本或绘本与传统清供题材中的蔬果花卉相结合的“花博古”作品。从19世纪初叶到20世纪40年代这100多年的时间里,是博古题材绘画的鼎盛时期。博古题材的出现,与中国传统的“雅好博古”文化背景是分不开的,博古题材绘画的繁荣期必定是金石学、考据学的繁荣期,清末民国更是如此,乾嘉以降,朴学大兴,金石学的研究空前绝后,同时在这一时期也有大量古物出土。因此,文人士大夫之间博古好古之风日益盛行。全形拓本的出现,社会经济的发展,花鸟画的繁荣等都是清末民国时期博古题材绘画创作繁荣的原因。当时的金石学家、画家、商人皆喜好古物,还出现了许多颇有造诣的金石学者。这一时期的博古绘画作品大部分需依靠收藏家、传拓者和画家共同合作完成,这些作品不仅是别具一格的创作,更是金石文化的载体。此一时期创作的博古题材绘画面貌丰富,形式多样。其与历史上出现的博古题材绘画既有联系也有区别,其创作原因、形成背景、具体表现以及以往研究者对其研究过程中所产生的错误认识等均值得梳理与探讨。研究博古题材绘画的论著很多,但单独研究论述清末民国时期博古绘画题材作品的论著并不是很多,在以往的研究论著中,研究者往往把清末民国时期的博古绘画等同于海派博古绘画,把此一时期的博古题材创作等同于“花博古”的创作,把以钟鼎彝器与花卉蔬果结合的作品冠以西洋画中“静物画”这一概念。这些观点可以说并不严谨,值得进行商榷。因此本文从博古题材的发展脉络入手,着重整理相关的文献与资料。通过这些具体的资料,试图探讨此一时期博古画形成的原因、形成过程与具体表现。通过引用、对比、例证等方法佐证自己的观点。本文分为四大部分:第一章,着重梳理博古题材绘画从宋代产生之后到民国时期的发展脉络。第二章,着重探讨清末民国时期博古题材绘画的形成与繁荣的原因。通过历史背景、环境因素等进行探讨。第三章,着眼于描述清末民国时期博古题材绘画的具体体现,按时间先后、作品面貌、创作者身份等进行分类,结合具体作品以及与作者相关的图片、资料进行阐述。第四章,描述当今博古题材绘画的创作现状,对当今的博古绘画题材研究加以总结。
[Abstract]:The word "Bo Gu Tu" first appeared in the "Xuan and Bo Gu Tu" compiled in the Northern Song Dynasty Huizong period. It was a pictorial work depicting the shapes and patterns of bronze wares in Shang and Zhou dynasties, which was recorded at that time, until the Ming Dynasty. The concept of "Bogu Tu" is very stable. To the middle and late Ming Dynasty, there appeared a kind of "Bogutu" works describing the literati gathering and appreciating the antiquities scene. Its development has not been interrupted. From the beginning of the Qing Dynasty to the middle of the Qing Dynasty, the palace painters based on the Ming Dynasty "Bogu Tu" as a blueprint, created the palace women appreciation of ancient objects Bogu theme painting works. The late Qing Dynasty and the Republic of China period. "Flower Bogu" works, which combine the whole form of Jinshi Ding Yi or picture book with the traditional fruits and vegetables and flowers in the theme of the Qing Dynasty, have appeared in the period of more than 100 years from the beginning of 19th century to 1940s. Bogu theme painting is the heyday. The appearance of Bogu theme is inseparable from the traditional Chinese cultural background of "Ya Haobogu". The prosperous period of Bogu painting must be the period of gold and stone, and the prosperous period of textual research. In the end of the Qing Dynasty, the Republic of China was even more so. Qianjia came down, and the study of gold and stone was unprecedented. Therefore, a large number of antiquities were unearthed in this period. Among literati, literati and officials, the ancient style of "Bogu" is becoming more and more popular. The appearance of "holographic extension" and the development of social economy. The prosperity of flower-and-bird painting was the reason for the prosperity of Bogu painting in the late Qing Dynasty and the Republic of China. At that time, the goldstone scholars, painters and businessmen all liked antiquities. There are also many accomplished scholars of gold and stone. Most of the paintings of this period have to rely on collectors, propagandists and painters to work together, these works are not only unique creation. It is also the carrier of the golden stone culture. The painting of Bogu subject matter created in this period is rich in appearance and diverse in form. It has connection and difference with the painting of Bogu theme which appeared in history, and the reasons for its creation and the formation of the background. It is worth combing and discussing the concrete performance and the error-cognition that the researcher produced in the course of his research in the past. There are many works on the subject of Bogu painting. But there are not many works on Bogu painting in the late Qing Dynasty and the Republic of China period. In the previous works, the Bogu painting in the late Qing Dynasty and the Republic of China period is often equated with the Shanghai School Bogu painting. The creation of Bogu subject matter in this period is equated with the creation of "Flower Bogu", and the combination of Zhongding Yi wares with flowers and vegetables is appraised by the concept of "still life painting" in western paintings. These views can be said to be not rigorous. Therefore, this article from the development of Bogu theme, focusing on sorting out the relevant documents and materials. Through these specific materials, try to explore the reasons for the formation of Bogu painting in this period. The formation process and specific performance. Through citation, comparison, examples and other methods to support their views. This paper is divided into four parts: chapter one. The second chapter focuses on the formation and prosperity of Bogu painting in the late Qing Dynasty and the Republic of China period through the historical background. The third chapter focuses on the description of the Bogu painting in the late Qing Dynasty and the Republic of China, according to the time sequence, the appearance of the work, the identity of the creator and so on. Combined with the concrete works and related pictures and materials. 4th chapters, describes the current situation of Bogu painting creation, and summarizes the current research on Bogu painting.
【学位授予单位】：河北师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J209.2

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