本文選題：明代前中期　切入點(diǎn)：宮廷畫家　出處：《華東師范大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：明代前中期,宮廷繪畫繁榮,宮廷畫家成為一個(gè)較為活躍的群體。他們以善畫而聞名,繪畫知識(shí)背景是他們成為宮廷畫家的基礎(chǔ)。一般宮廷畫家的習(xí)畫經(jīng)歷與文人畫家相仿。他們通常學(xué)習(xí)經(jīng)驗(yàn)式的中國古代繪畫技法,熟悉繪畫的"母題"、"畫譜"和"粉本",以臨摹和寫形為基礎(chǔ)進(jìn)行繪畫。從學(xué)畫途徑而言,他們往往都有良好的家學(xué)傳承,有時(shí)也跟從與其有地緣關(guān)系的著名畫家學(xué)習(xí)繪畫。從繪畫風(fēng)格而言,明代前中期的宮廷畫家的繪畫風(fēng)格分為"承元人余緒"和"融兩宋于一體"兩種不同的階段。這些畫家因善繪事而進(jìn)入宮廷,從而改變了其社會(huì)地位。朝廷則根據(jù)其不同的身份,以主動(dòng)延訪畫家和經(jīng)人舉薦等形式招入宮中。這些舉薦者包括與宮廷畫家有地緣關(guān)系的官員、具有藝術(shù)愛好的藩王以及在宮中從事繪畫活動(dòng)的其他宮廷畫家。一些具有軍戶背景的畫家憑借匠藝成為宮廷畫家,他們被授予錦衣衛(wèi)不完全是由明代官員的"寄祿"和"傳奉"造成的,許多宮廷畫家都因其祖父輩從戍而世襲為軍戶,進(jìn)而襲替錦衣衛(wèi)之職。從作畫目的和情境而論,宮廷畫家的繪畫作品可分為職務(wù)畫作和業(yè)余畫作。明代的帝王肖像圖、歲朝圖和騶虞圖是典型的職務(wù)畫作。這些職務(wù)畫作需要由帝王授命繪制,且獲得帝王認(rèn)可,展現(xiàn)帝王或者皇室形象,反映明代帝王與皇室的審美情趣。在這個(gè)過程中,宮廷畫家常常利用宮廷社交獲得物質(zhì)賞賜和更高的身份地位,并與文人、官員甚至宦官交往密切。宮廷畫家在業(yè)余時(shí)間,也與文人畫家一樣,參與雅集活動(dòng),繪制雅集圖。無論是臺(tái)閣雅集、文人雅集,還是復(fù)古派的雅集活動(dòng),宮廷畫家的創(chuàng)作與文人畫家無異,故不能只通過繪畫風(fēng)格斷言其作者身份。然而,宮廷畫家在文人畫家對(duì)于"文人畫"概念的自我反思中成為一個(gè)與文人畫家對(duì)立的群體。同時(shí),明代宮廷畫家官僚化的過程也引起了一般官員的不滿。明代中期,文人畫家和朝廷其他官員對(duì)宮廷畫家及其作品的評(píng)價(jià)急轉(zhuǎn)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.
【學(xué)位授予單位】：華東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：K248

【相似文獻(xiàn)】

相關(guān)期刊論文 前10條

1 吳俐潔;;《著衣的馬哈》與《裸體的馬哈》——宮廷畫家哥雅的愛情軼聞[J];美與時(shí)代(下半月);2002年02期

2 王海;蘇瀚宇;;明代宮廷畫家李在考略[J];天津大學(xué)學(xué)報(bào)(社會(huì)科學(xué)版);2010年06期

3 李燁;;明代宮廷畫家朱佐軼事[J];東方收藏;2011年11期

4 聶崇正;;清宮廷畫家余省、余zI兄弟[J];紫禁城;2011年10期

5 趙晶;;明代宮廷畫家呂文英生卒年新探[J];美術(shù)學(xué)報(bào);2012年02期

6 聶崇正;;乾隆時(shí)宮廷畫家嚴(yán)宏滋及作品[J];收藏家;2013年11期

7 李淑芝;;宮廷畫家徐揚(yáng)和他的《西域輿圖卷》[J];黑龍江文物叢刊;1982年01期

8 聶崇正;清代宮廷畫家續(xù)談[J];故宮博物院院刊;1987年04期

9 聶崇正;;清宮廷畫家張震、張為邦、張廷彥[J];文物;1987年12期

10 王海;劉虎;;宋明宮廷畫院職官待遇對(duì)畫院水平的影響[J];天津大學(xué)學(xué)報(bào)(社會(huì)科學(xué)版);2011年03期

相關(guān)重要報(bào)紙文章 前10條

1 正年;清宮廷畫家的藝術(shù)及行情[N];美術(shù)報(bào);2007年

2 好 運(yùn);清宮廷畫家潛藏“升”機(jī)[N];中國商報(bào);2005年

3 記者 李培邋通訊員 王小迎;明代宮廷畫回“廣州娘家”[N];南方日?qǐng)?bào);2008年

4 朱誠如邋(國家清史編纂委員會(huì)副主任);從《圖錄叢刊》論圖像史學(xué)的勃興[N];中華讀書報(bào);2007年

5 劉曉丹;美術(shù)世界里的“利來利往”[N];美術(shù)報(bào);2009年

6 聶崇正;《萬壑秋濤圖》出自明宮廷[N];中國商報(bào);2004年

7 朱誠如;歷史的另一種詮釋[N];光明日?qǐng)?bào);2005年

8 特邀撰稿 江蘇鎮(zhèn)江市文聯(lián)副主席、畫家 王川;東方之馬[N];美術(shù)報(bào);2014年

9 殷燕召;古書畫鑒定何以難有“標(biāo)準(zhǔn)答案”[N];光明日?qǐng)?bào);2014年

10 呂紅;獨(dú)樹一幟的南宋皇家畫院[N];中國檔案報(bào);2005年

相關(guān)碩士學(xué)位論文 前2條

1 林丹;明前中期宮廷畫家及其創(chuàng)作活動(dòng)研究[D];華東師范大學(xué);2017年

2 孫海德;國家像冊的發(fā)生—論漢代“史載”肖像繪畫[D];吉林大學(xué);2011年

，

本文編號(hào)：1571349