漸進的折衷：明清以降洋化影響下的人物畫論與創作

Abstract

人物畫是中國繪畫中的一個重要類型，其發展歷史及繪畫要點被撰寫成畫論，人物畫的特點轉變自對歷史和文化的敬仰和崇拜，表現出注重形象的傳神和肖像的真實性。隨著時代轉移，人物畫或轉向寫意、注重氣韻，或注重整體構圖的安排及人物的情感表現，足以看出人物畫之重要性。元代始，自出現《寫像秘訣》著作，該書猶如人物畫指南啟蒙，開啟了後世對於繪製人物畫的各種見解。本研究試圖了解關於人物畫論述及相關發展，以藝術史學的角度出發，採用相關視覺材料作為輔助，以風格分析為主要方法理解人物畫作品。本論文透過三個層面進行研究，並安排章節。第二章試析元代至清代之人物畫論，以畫論作者的啟發度及書寫多層次為主要取樣。第三章聚焦在明清代人物畫家與人物畫論及其受洋化影響之關係上。第四章考察近現代化受到中西方藝術文化影響之人物畫家，如何藉由西學為傳統人物繪畫帶來新面貌。廣為蒐索其作品風格和理論上的實踐如何受到洋化的轉變或不變。試以梳理出人物畫理論及創作實踐是否有相符合之處。本論文要理解中國人物畫論，首先須進行觀念層面的理解，探查在人物畫或肖像畫時的技法準則與中心思想，並從畫家的實際執行狀態來說明該繪畫指南與作品之契合情況，最後以近現代畫家對於人物畫技法的轉向審視其成效，進而掌握作品與畫論之間的相互意義。Figure painting is an important type in Chinese painting. Its development history and main points have been written into painting theory. The characteristics of figure painting have changed from the admiration and worship of history and culture, showing that pay attention to the vividness of images and the authenticity of portraits. With the change of the times, figure painting has turned to freehand drawing, focusing on charm, or focusing on the arrangement of the composition and the emotional expression of the characters, which is enough to see the importance of figure painting. Since the Yuan Dynasty, the book"Secrets of Portraiture" is like a guide to figure painting and enlightenment, and it has opened up various views on figure painting for later generations. This research attempts to understand the discourse on figure painting and related developments, starting from the perspective of art history, using relevant visual materials as a supplement, and using style analysis as the main method to understand figure painting works. This thesis conducts research through three levels and arranges chapters. The second chapter likes to analyze the theory of figure painting from the Yuan Dynasty to the Qing Dynasty, taking the author's inspiration and multi-level writing as the main sample. The third chapter focuses on the relationship between figure painters in Ming and Qing Dynasties, figure painting theory and the influence under westernization. The fourth chapter examines how the modern figure painters who are influenced by Chinese and Western art culture bring another vision to traditional painting through Western learning. And extensively searches how the work style and theoretical practice have been transformed or unchanged by Westernization. Attempt to sort out whether the figure painting theory and practice are consistent.This thesis aims to understand the theory of Chinese figure painting first at the conceptual level, to explore the technical guidelines and central ideas in figure painting or portrait painting, and to explain the fit between the painting guide and the work from the painter's actual implementation state. Finally, examine its effectiveness with the modern turning of figure painting techniques, and then grasp the significance of this work and painting theory.