明前中期宫廷画家及其创作活动研究

发布时间：2018-03-05 18:15

本文选题：明代前中期　切入点：宫廷画家　出处：《华东师范大学》2017年硕士论文　论文类型：学位论文

【摘要】：明代前中期,宫廷绘画繁荣,宫廷画家成为一个较为活跃的群体。他们以善画而闻名,绘画知识背景是他们成为宫廷画家的基础。一般宫廷画家的习画经历与文人画家相仿。他们通常学习经验式的中国古代绘画技法,熟悉绘画的"母题"、"画谱"和"粉本",以临摹和写形为基础进行绘画。从学画途径而言,他们往往都有良好的家学传承,有时也跟从与其有地缘关系的著名画家学习绘画。从绘画风格而言,明代前中期的宫廷画家的绘画风格分为"承元人余绪"和"融两宋于一体"两种不同的阶段。这些画家因善绘事而进入宫廷,从而改变了其社会地位。朝廷则根据其不同的身份,以主动延访画家和经人举荐等形式招入宫中。这些举荐者包括与宫廷画家有地缘关系的官员、具有艺术爱好的藩王以及在宫中从事绘画活动的其他宫廷画家。一些具有军户背景的画家凭借匠艺成为宫廷画家,他们被授予锦衣卫不完全是由明代官员的"寄禄"和"传奉"造成的,许多宫廷画家都因其祖父辈从戍而世袭为军户,进而袭替锦衣卫之职。从作画目的和情境而论,宫廷画家的绘画作品可分为职务画作和业余画作。明代的帝王肖像图、岁朝图和驺虞图是典型的职务画作。这些职务画作需要由帝王授命绘制,且获得帝王认可,展现帝王或者皇室形象,反映明代帝王与皇室的审美情趣。在这个过程中,宫廷画家常常利用宫廷社交获得物质赏赐和更高的身份地位,并与文人、官员甚至宦官交往密切。宫廷画家在业余时间,也与文人画家一样,参与雅集活动,绘制雅集图。无论是台阁雅集、文人雅集,还是复古派的雅集活动,宫廷画家的创作与文人画家无异,故不能只通过绘画风格断言其作者身份。然而,宫廷画家在文人画家对于"文人画"概念的自我反思中成为一个与文人画家对立的群体。同时,明代宫廷画家官僚化的过程也引起了一般官员的不满。明代中期,文人画家和朝廷其他官员对宫廷画家及其作品的评价急转直下。
[Abstract]:Before and in the middle of the Ming Dynasty, court painting flourished, and court painters became an active group. They were famous for their good painting. The background of painting knowledge is the basis for them to become court painters. Ordinary court painters have similar painting experiences as literati painters. They usually learn experiential techniques of ancient Chinese painting. Familiar with the "motif", "pictorial" and "pink" of painting, drawing on the basis of copying and writing form. From the perspective of painting, they often have a good family heritage, Sometimes follow famous painters who have geographical relations with them to learn painting. In terms of painting style, The painting styles of court painters in the early and middle Ming Dynasty were divided into two different stages: "Yu Xu from the Yuan Dynasty" and "integrating the two Song dynasties". These painters entered the court because of their good painting. As a result, they changed their social status. According to their different identities, the court was recruited into the palace in the form of an active extension of visits to painters and referrals. These referrals included officials with geographical ties to court painters. Vassals with artistic interests and other court painters engaged in painting in the palace. Some artists with military background became court painters by virtue of their craftsmanship. They were not awarded Jinyi Wei solely by the "Jilu" and "Zhuan Bong" of officials in the Ming Dynasty. Many court painters inherited the military household from their ancestors and then took over the post of Jin Yi Wei. From the point of view of the purpose and situation of painting, many court painters inherited the post of Jin Yi Wei. The paintings of court painters can be divided into official paintings and amateur paintings. Portraits of emperors in the Ming Dynasty, old princes and Zou Yu pictures are typical of official paintings. These paintings need to be drawn at the behest of emperors and approved by emperors. Showing the image of emperors or royals, reflecting the aesthetic interests of Ming emperors and royalty. In this process, court painters often use court social to obtain material rewards and higher status, and with literati, Officials and even eunuchs are in close contact. In their spare time, court painters, like literati painters, participate in elegant collection activities and draw elegant collection maps. Court painters' creations are no different from those of literati painters, so they cannot be asserted as authors only through their style of painting. Court painters became a group opposed to literati painters in their self-reflection on the concept of "literati painting". At the same time, the bureaucratic process of court painters in the Ming Dynasty also aroused the dissatisfaction of ordinary officials. Literati painters and other court officials had a sharp decline in their evaluation of court painters and their works.
【学位授予单位】：华东师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：K248

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