明代中後期花鳥畫美感內涵與表現特徵研究
Abstract
除元代文人墨畫外，自唐代起至明代前期，花鳥畫的發展皆以宮廷畫院為中心；描繪細膩、賦彩妍麗、造形準確的繪畫風貌是為歷代花鳥畫的基本特徵。迨至明代中期，畫院式微，蘇州地區的畫家群體躍居畫壇主流；花鳥畫家們普遍強調「師心橫縱、求真主情」的審美意識，傾向追求筆墨的形式與抒情美感，將水墨與宣紙的材料特性發揮至空前高峰；明代後期更開創出大寫意水墨花鳥畫的繪畫風貌，影響當代甚鉅。據此而言，明代中後期花鳥畫審美意識與繪畫風貌的轉變，對於中國美術史的發展，實具有特殊的意義，值得深入研究。
本論文係以明代成化以後至萬曆年間，花鳥畫之「美感內涵」與「表現特徵」作為研究主軸，並架構於歷史文化背景之上的理論基礎，以相互論證；從而勾勒出文人審美意識興起、水墨寫意花鳥畫風貌形成的線索，俾就明代中後期花鳥畫於美術史之定位作出合理闡釋。各章討論重點如下：
第一章〈緒論〉，說明本論文的論題構思脈絡，研究範圍、方法與文獻資料的選取等，以貫串全篇之研究。第二章〈明代中期以前花鳥畫風貌概述〉，包括「精謹生動賦彩妍麗的唐代畫風」、「黃家富貴徐熙野逸的五代畫風」、「工於寫生周密不茍的北宋畫風」、「構圖簡潔詩意入畫的南宋畫風」、「變畫為寫墨放異采的元代畫風」、「妍麗工致的明代前期花鳥畫風」等各節；從相關的文獻、圖錄資料中，整理出明代中期以前，花鳥畫風貌演變的軌迹，並概述作品內涵之審美思想情感；兩相對照，以解釋花鳥畫風貌演變的意涵。第三章〈明代中後期的歷史文化背景〉，包括「經濟生活的遞嬗」、「學術思潮的變革」、「文化現象的實況」、「創作風氣的轉變」等各節；以探討促成花鳥畫風貌轉變的契機。第四章〈明代中後期花鳥畫的美感內涵〉，包括「借物興情，自寫胸臆的審美體驗」、「師心橫縱，自創新格的審美觀念」、「本色自然，求真主情的審美理想」、「筆奇墨放，氣韻生動的審美趣味」等各節；以詮釋明代中後期花鳥畫審美精神活動的內涵意義。第五章〈明代中後期花鳥畫的表現特徵〉，包括「題材取向的遞變」、「內容意蘊的彰顯」、「繪畫形式的發展」、「風格意境的開創」等各節；以整理、比較、分析明代中後期花鳥畫的風貌特徵。第六章〈結論〉則回顧前文之論述，提出明確的觀點；並檢討研究成果，兼述研究瞻望。
This thesis aims to inquire into the aesthetic experience and characteristics of “Bird-and-Flower Painting” on the basis of historical and cultural backgrounds during the years of Chenhua (AD 1465-1487) and Wanli (AD 1573-1619) in the Ming Dynasty (AD 1368-1644). By depicting the rise of literati’s aesthetic consciousness and the clue that shapes the style of ink wash xieyi Bird-and-Flower Painting, the thesis seeks to position properly Bird-and-Flower Painting in the middle-late Ming Dynasty in the history of Chinese Arts. The ink painting of literati in the Yuan Dynasty (AD 1279-1368) aside, the development of the Bird-and-Flower Painting from the Tang Dynasty (AD 618-907) to the beginning of the Ming Dynasty centered on the Art Academy. In each dynasty, the Bird-and-Flower Painting is marked by delicate depiction, drawn in gaudy and splendid colors, and precise form. The Art Academy declined in the middle of the Ming Dynasty, so the group of painters in Soochow rose to a leading position in the field of painting. In general, the painters of this genre of painting underscored their own ideas and demanded the representation of truth and real emotions. They tended to quest for the form of brush-and-ink and a lyrical sense of beauty. The material characteristics of ink-and-wash and Xuan Paper (宣紙, Chinese painting paper) thus reached an unprecedented height. The late Ming Dynasty witnessed the emergence of daxieyi style of ink wash Bird-and-Flower Painting, (more unrestrained than xieyi, a style characterized by vivid expression and bold outline) and had a tremendous influence on contemporary Chinese paintings. This makes the development and changes of the aesthetic consciousness and the style of Bird-and-Flower Painting during the middle-late Ming Dynasty a subject worth looking into. The present thesis contains altogether six chapters. Chapter One, an introductory chapter, provides the context, the scope, the methodology, and the selection of reference literature of the entire thesis. The second chapter, entitled “A Survey of Bird-and-Flower Painting’s Styles before the Middle of the Ming Dynasty”, seeks to show how the style of Bird-and-Flower Painting evolves before the Middle Ming Dynasty by surveying the related reference literature and the catalogues of paintings. In doing so, it also summarizes the aesthetic ideas and emotions registered in the works. The chapter consists of six parts. The first part deals with the painting style of applying to bright and colorful pigments with fine brushwork in the Tang Dynasty. The second part focuses on the Five Dynasties and the following view represents the painting style in the period. “The paintings of the Huangs are in rich and bright colors, and Xu Xi’s are in wildness.” It is followed by the style of the Northern Song Dynasty (AD 960-1126) that excels in drawing from nature and neglects no detail. Then come the concise composition and poetic painting style of the Southern Song Dynasty (AD 1127-1279). In the Yuan Dynasty, ink-and-wash painting flourishes particularly. In the beginning of the Ming Dynasty, Bird-and-Flower Painting is drawn in gaudy colors with fine brushwork and painted with very close attention to detail. Chapter Three, entitled “The Historical and Cultural Backgrounds in the Middle-Late Ming Dynasty”, proceeds to look into various external factors that contributed to the evolution of Bird and Flower Painting in the studied period. The chapter consists of four parts. Each part deals respectively with such aspects as the changes of economic life, the transformation of academic trend of thought, the circumstance of cultural phenomenon, and the shift in the creative atmosphere. Chapter Four, “The Aesthetic Experience of ‘Bird-and-Flower Painting’ in the Middle-Late Ming Dynasty”, seeks to interpret the meanings of spiritual activities in appreciating the beauty of this genre of painting in the period. It first discusses the aesthetic experience that results from external stimulations and yet expresses personal perspective. It then describes the aesthetic idea that thoroughly expresses personal style and perspective. After that, it presents the aesthetic ideals that reveal the true feelings of the painters. Finally, it deals with the aesthetic tastes that create paintings in unrestrained, vivid, and touching ways. Chapter Five is entitled “The Characteristics of Bird-and-Flower Painting in the Middle-Late Ming Dynasty”. It comprises four sections, where I arrange, compare, and analyze the painting styles and characteristics of Bird and Flower Painting in the period. I touch specifically upon such aspects as the changing choices of the subjects, the revelation of the contents, the development of the painting form, and the innovation of style and creative concept. Chapter Six, which is also the concluding chapter, recapitulates the major views of the thesis. Yet it also looks forward. That is, while reviewing the findings of previous chapters, the chapter also provides clues and directions for further and future studies.
This thesis aims to inquire into the aesthetic experience and characteristics of “Bird-and-Flower Painting” on the basis of historical and cultural backgrounds during the years of Chenhua (AD 1465-1487) and Wanli (AD 1573-1619) in the Ming Dynasty (AD 1368-1644). By depicting the rise of literati’s aesthetic consciousness and the clue that shapes the style of ink wash xieyi Bird-and-Flower Painting, the thesis seeks to position properly Bird-and-Flower Painting in the middle-late Ming Dynasty in the history of Chinese Arts. The ink painting of literati in the Yuan Dynasty (AD 1279-1368) aside, the development of the Bird-and-Flower Painting from the Tang Dynasty (AD 618-907) to the beginning of the Ming Dynasty centered on the Art Academy. In each dynasty, the Bird-and-Flower Painting is marked by delicate depiction, drawn in gaudy and splendid colors, and precise form. The Art Academy declined in the middle of the Ming Dynasty, so the group of painters in Soochow rose to a leading position in the field of painting. In general, the painters of this genre of painting underscored their own ideas and demanded the representation of truth and real emotions. They tended to quest for the form of brush-and-ink and a lyrical sense of beauty. The material characteristics of ink-and-wash and Xuan Paper (宣紙, Chinese painting paper) thus reached an unprecedented height. The late Ming Dynasty witnessed the emergence of daxieyi style of ink wash Bird-and-Flower Painting, (more unrestrained than xieyi, a style characterized by vivid expression and bold outline) and had a tremendous influence on contemporary Chinese paintings. This makes the development and changes of the aesthetic consciousness and the style of Bird-and-Flower Painting during the middle-late Ming Dynasty a subject worth looking into. The present thesis contains altogether six chapters. Chapter One, an introductory chapter, provides the context, the scope, the methodology, and the selection of reference literature of the entire thesis. The second chapter, entitled “A Survey of Bird-and-Flower Painting’s Styles before the Middle of the Ming Dynasty”, seeks to show how the style of Bird-and-Flower Painting evolves before the Middle Ming Dynasty by surveying the related reference literature and the catalogues of paintings. In doing so, it also summarizes the aesthetic ideas and emotions registered in the works. The chapter consists of six parts. The first part deals with the painting style of applying to bright and colorful pigments with fine brushwork in the Tang Dynasty. The second part focuses on the Five Dynasties and the following view represents the painting style in the period. “The paintings of the Huangs are in rich and bright colors, and Xu Xi’s are in wildness.” It is followed by the style of the Northern Song Dynasty (AD 960-1126) that excels in drawing from nature and neglects no detail. Then come the concise composition and poetic painting style of the Southern Song Dynasty (AD 1127-1279). In the Yuan Dynasty, ink-and-wash painting flourishes particularly. In the beginning of the Ming Dynasty, Bird-and-Flower Painting is drawn in gaudy colors with fine brushwork and painted with very close attention to detail. Chapter Three, entitled “The Historical and Cultural Backgrounds in the Middle-Late Ming Dynasty”, proceeds to look into various external factors that contributed to the evolution of Bird and Flower Painting in the studied period. The chapter consists of four parts. Each part deals respectively with such aspects as the changes of economic life, the transformation of academic trend of thought, the circumstance of cultural phenomenon, and the shift in the creative atmosphere. Chapter Four, “The Aesthetic Experience of ‘Bird-and-Flower Painting’ in the Middle-Late Ming Dynasty”, seeks to interpret the meanings of spiritual activities in appreciating the beauty of this genre of painting in the period. It first discusses the aesthetic experience that results from external stimulations and yet expresses personal perspective. It then describes the aesthetic idea that thoroughly expresses personal style and perspective. After that, it presents the aesthetic ideals that reveal the true feelings of the painters. Finally, it deals with the aesthetic tastes that create paintings in unrestrained, vivid, and touching ways. Chapter Five is entitled “The Characteristics of Bird-and-Flower Painting in the Middle-Late Ming Dynasty”. It comprises four sections, where I arrange, compare, and analyze the painting styles and characteristics of Bird and Flower Painting in the period. I touch specifically upon such aspects as the changing choices of the subjects, the revelation of the contents, the development of the painting form, and the innovation of style and creative concept. Chapter Six, which is also the concluding chapter, recapitulates the major views of the thesis. Yet it also looks forward. That is, while reviewing the findings of previous chapters, the chapter also provides clues and directions for further and future studies.
Description
Keywords
明代中後期, 花鳥畫, 美感, 特徵, the middle-late Ming Dynasty, Bird-and-Flower Painting, the aesthetic experience, characteristics