本文選題：楊柳青畫(huà)師　切入點(diǎn)：高桐軒　出處：《天津大學(xué)》2015年博士論文

【摘要】：高桐軒(公元1835年-1906年),是中國(guó)十八世紀(jì)中期至十九世紀(jì)初活躍于京畿一帶的民間職業(yè)畫(huà)家,也是津門(mén)楊柳青鎮(zhèn)從事木版年畫(huà)創(chuàng)作的著名畫(huà)師。高桐軒繪畫(huà)創(chuàng)作領(lǐng)域廣泛,從民間肖像畫(huà)繪制到木版年畫(huà)的創(chuàng)作都取得很大的成就。他一生游歷輾轉(zhuǎn)于晚清宮廷、鄉(xiāng)村與市井之間,這種藝術(shù)經(jīng)歷不僅使他有意吸收了晚清宮廷畫(huà)風(fēng)與西洋線法畫(huà)的藝術(shù)表現(xiàn)技巧,而且還將古代文人的繪畫(huà)傳統(tǒng)與晚明以來(lái)民間版畫(huà)的審美趣味融入到他的年畫(huà)創(chuàng)作中,形成了迥異于楊柳青傳統(tǒng)木版年畫(huà)的藝術(shù)風(fēng)格。特別是其晚年創(chuàng)作的木版年畫(huà)作品既深受傳統(tǒng)的宮廷繪畫(huà)影響,又凸顯了傳統(tǒng)文人畫(huà)的審美傾向。其作品借鑒宮廷繪畫(huà)的物象元素,運(yùn)用西洋“透視法”技法和灰色套版印刷技術(shù)表現(xiàn)畫(huà)面的空間明暗,其畫(huà)面內(nèi)容不僅場(chǎng)面宏大且刻繪亦精致灰雅,在藝術(shù)的格調(diào)上實(shí)現(xiàn)了俗與雅的審美融合。特別是歲時(shí)節(jié)景題材的年畫(huà)作品,不僅涉及民間社會(huì)的精神側(cè)面而且貼近民間生活的創(chuàng)作視角使其作品具有獨(dú)特的藝術(shù)面貌。這種揉入宮廷貴族與民間市井文化風(fēng)情所形成的不同于宮廷繪畫(huà)、文人繪畫(huà)以及傳統(tǒng)的楊柳青木版年畫(huà)的全新藝術(shù)風(fēng)格對(duì)清末楊柳青民間木版年畫(huà)的創(chuàng)作和發(fā)展產(chǎn)生了重要的歷史影響,而這在晚清楊柳青木版年畫(huà)日益衰微的進(jìn)程中也凸顯出重要的文化標(biāo)型意義。高桐軒將自己一生積累的繪畫(huà)技法經(jīng)驗(yàn)以及他個(gè)人的繪畫(huà)思想編撰成一部帶有方法論性質(zhì)的畫(huà)論專(zhuān)書(shū)——《墨余瑣錄》。該書(shū)是中國(guó)歷史上一部出自民間職業(yè)畫(huà)家的繪畫(huà)理論著作,不僅利導(dǎo)民間繪畫(huà)的創(chuàng)作實(shí)踐,而且是民間畫(huà)工集體繪畫(huà)實(shí)踐的經(jīng)驗(yàn)總結(jié),對(duì)于研究中國(guó)民間繪畫(huà)尤其是肖像畫(huà)和民間木版年畫(huà)的制作和傳承具有重要意義。作為民間畫(huà)工階層的代表人物,高桐軒在畫(huà)論中還表達(dá)了他對(duì)精英階層文人士夫繪畫(huà)思想的批判立場(chǎng)和審美態(tài)度。對(duì)晚清民間畫(huà)師高桐軒創(chuàng)作的年畫(huà)圖像和相關(guān)史料的文本進(jìn)行重新解讀可正視繪畫(huà)史中可能被忽視和簡(jiǎn)單化的學(xué)術(shù)內(nèi)容,從客觀的角度重現(xiàn)時(shí)代和地域以及因畫(huà)家本人因素而形成的特殊的繪畫(huà)審美樣式、創(chuàng)作脈絡(luò)以及人文觀照方式,是挖掘民間畫(huà)工傳統(tǒng)藝術(shù)精神的砌基。
[Abstract]:Gao Tongxuan (1835-1906 A. D.) is a folk professional painter active in Beijing from the middle of the 18th century to the beginning of the nineteenth century.Gao Tongxuan painting field is extensive, from folk portrait painting to woodcut New year painting creation have made great achievements.He traveled all his life to the palace of the late Qing Dynasty, between the countryside and the city. This kind of artistic experience not only made him deliberately absorb the artistic expression skills of the painting style of the court in the late Qing Dynasty and the Western line painting.Moreover, the painting tradition of ancient literati and the aesthetic taste of folk printmaking since the late Ming Dynasty were incorporated into his New year painting creation, which formed a different artistic style from Yangliuqing's traditional woodcut New year painting.Especially in his later years, his woodblock paintings were deeply influenced by the traditional court paintings, and also highlighted the aesthetic tendency of the traditional literati paintings.His works draw lessons from the image elements of court paintings, and use Western "perspective" techniques and grey printing techniques to express the space of the pictures, the contents of which are not only grand but also delicate and elegant.The aesthetic integration of vulgarity and elegance is realized in the style of art.Especially the New year paintings with the theme of age and season not only involve the spiritual side of the civil society but also make his works have a unique artistic outlook from the perspective of close to the folk life.Different from court painting, this kind of cultural amorous feelings formed by the aristocrats and folk customs into the palace,The new artistic style of the literati painting and the traditional Yangliuqing wooden New year painting had an important historical influence on the creation and development of Yangliuqing Folk Wood New year paintings in the late Qing Dynasty.And this in the late Qing Dynasty Yangliuqing wood edition of the decline of the process also highlights an important cultural significance.Gao Tongxuan compiled his experience in painting techniques and his personal painting thoughts into a special book on painting theory with the nature of methodology-"Moyu Zuo Lu".The book is a drawing theory work in Chinese history from folk professional painters. It not only guides the creative practice of folk painting, but also is a summary of the experience of folk painters' collective painting practice.It is of great significance to study the making and inheritance of Chinese folk paintings, especially portraits and folk woodblock paintings.As a representative figure of the folk painting class, Gao Tongxuan also expressed his critical stand and aesthetic attitude towards the literary personage's painting thought of the elite class in his painting theory.To reinterpret the texts of New year pictures and related historical materials created by Gao Tongxuan, a folk painter in the late Qing Dynasty, can face up to the academic content which may be neglected and simplified in the history of painting.It is the foundation of excavating the traditional artistic spirit of folk painters to reproduce from the objective angle the special aesthetic style of painting, the vein of creation and the way of humanism, which are formed by the times and regions as well as by the painters themselves.
【學(xué)位授予單位】：天津大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2015
【分類(lèi)號(hào)】：J205
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本文編號(hào)：1724836