本文選題：惲壽平　切入點(diǎn)：清初揚(yáng)州　出處：《揚(yáng)州大學(xué)》2017年碩士論文

【摘要】：文章圍繞“清六家”之一惲壽平康熙年間在揚(yáng)州的藝術(shù)經(jīng)歷展開了探討,關(guān)注的中心問題是惲壽平來到揚(yáng)州卻沒有在此長(zhǎng)久發(fā)展的原因,以及在揚(yáng)州的經(jīng)歷給他帶來的一些影響,從而為研究清初揚(yáng)州畫壇給予當(dāng)時(shí)來此賣畫、尋求出路的不同畫家的不同境遇,提供一個(gè)獨(dú)特的個(gè)案觀察視角。文章首先從惲壽平的生平出發(fā),明確惲壽平作為一名遺民畫家主要以布衣交士,書畫謀食,而他來?yè)P(yáng)州之時(shí)正是其奔波于各地尋求書畫市場(chǎng)的階段,為接下來分析他來?yè)P(yáng)州的原因提供一些可供參考的線索。其后解讀了惲壽平來?yè)P(yáng)州的必然性所在,清初的揚(yáng)州是個(gè)具有吸引力的城市,尤其是由明入清的遺民畫家,來到這里寓居賣畫,在此得以生存發(fā)展,成就畫業(yè)家名,惲壽平也因?yàn)樽陨砩娴男枨髞淼綋P(yáng)州�，F(xiàn)存史料亦證明惲壽平曾于康熙初期多次往來于揚(yáng)州,尤其是在康熙十四年至十五年間寓留于此幾近一年時(shí)間,他在此交友雅集、贈(zèng)畫唱和、觀摩名跡,留下了一些藝術(shù)精品。然而,史料顯示惲壽平在揚(yáng)州時(shí)的處境并不像同時(shí)期的其他遺民畫家在揚(yáng)州那樣,他在揚(yáng)州時(shí)期的鬻畫情況不佳,也沒有長(zhǎng)期留在揚(yáng)州作為其藝術(shù)市場(chǎng)發(fā)展下去,造成這一現(xiàn)象的原因是什么?為解決這一問題,文章重點(diǎn)梳理了清初揚(yáng)州社會(huì)政治、經(jīng)濟(jì)、文化恢復(fù)的狀況,從而理清了與之相適應(yīng)而存在的繪畫門類,對(duì)比同時(shí)代長(zhǎng)期寓留揚(yáng)州的遺民畫家在揚(yáng)州的生存狀況,還原了那個(gè)時(shí)代揚(yáng)州文化官員、鹽商、畫家之間的聯(lián)系,結(jié)合惲壽平自身的情況,解釋了惲壽平?jīng)]有留在揚(yáng)州發(fā)展的原因。最后,根據(jù)惲壽平與揚(yáng)州有關(guān)的史料留存,解讀了揚(yáng)州經(jīng)歷給惲壽平帶來的一些影響。文章首次關(guān)注到清初惲壽平在揚(yáng)州這一專題,運(yùn)用文獻(xiàn)法、圖像學(xué)、比較學(xué)等方法,探討了清初揚(yáng)州恢復(fù)過程中繪畫與社會(huì)中諸因素之間的一系列聯(lián)系,以及與惲壽平之間的關(guān)系。通過這一個(gè)案的研究不僅為我們研究清初揚(yáng)州畫壇提供了一個(gè)參考,更帶給我們一個(gè)重要的話題,即社會(huì)經(jīng)濟(jì)、文化等的發(fā)展對(duì)于藝術(shù)發(fā)展的所起的主導(dǎo)性作用。惲壽平來到揚(yáng)州,是揚(yáng)州社會(huì)發(fā)展下對(duì)遺民畫家吸引力的驅(qū)動(dòng),他在揚(yáng)州的處境一定程度上也源自于不符合清初揚(yáng)州社會(huì)環(huán)境下對(duì)繪畫的要求。藝術(shù)始終是服務(wù)于社會(huì)的存在,不同時(shí)代背景下孕育著不同藝術(shù)的生存與發(fā)展。
[Abstract]:The article discusses Yun Shouping's artistic experience in Yangzhou during the period of Kangxi, one of the "Qingliujia", and focuses on the reason why Yun Shouping came to Yangzhou but did not develop in Yangzhou for a long time. As well as the experience in Yangzhou brought to him some influence, so as to study the Yangzhou painting world at that time to sell paintings, seeking a way out of the different artists different circumstances, First of all, from the perspective of Yun Shouping's life, it is clear that Yun Shouping, as a relic painter, mainly relies on cloth clothes to hand over scholars, calligraphy and painting for food. When he came to Yangzhou, it was precisely the stage when he was traveling around the country to seek the calligraphy and painting market, which provided some clues for reference in analyzing the reasons for his coming to Yangzhou. Then, he explained the inevitability of Yun Shouping's coming to Yangzhou. Yangzhou in the early Qing Dynasty was an attractive city, especially the painters from the Ming Dynasty to the Qing Dynasty, who came here to live and sell their paintings. Yun Shouping also came to Yangzhou because of his own needs for survival. The existing historical data also proved that Yun Shouping had many exchanges with Yangzhou in the early days of Kangxi, especially when he stayed in Yangzhou for nearly a year between 14 and 15 years. He made friends and elegant collections here. By presenting paintings to sing and observing famous signs, he left behind some fine works of art. However, historical data show that Yun Shouping's situation in Yangzhou was not as good as that of other painters in Yangzhou in the same period. His Yu paintings in Yangzhou were not in a good condition. Also did not stay in Yangzhou for a long time as its art market to develop, what is the cause of this phenomenon? In order to solve this problem, the article mainly combed the situation of social politics, economy and culture restoration in Yangzhou in the early Qing Dynasty, and then clarified the painting categories that existed in the corresponding areas. Comparing the living conditions in Yangzhou of the painters who stayed in Yangzhou for a long time at the same time, they restored the links among Yangzhou cultural officials, salt merchants, and painters of that period, and combined Yun Shouping's own situation. It explains why Yun Shouping did not stay in Yangzhou for development. Finally, according to Yun Shouping's retention of historical materials related to Yangzhou, it interprets some of the influences that the Yangzhou experience has brought to Yun Shuping. The article for the first time pays attention to Yun Shouping's special topic in Yangzhou in the early Qing Dynasty. This paper discusses a series of relations between painting and social factors in the restoration process of Yangzhou in the early Qing Dynasty by the methods of literature, graphics and comparison. And the relationship between Yun Shouping and Yun Shouping. This case study not only provided a reference for us to study the painting world in Yangzhou in the early Qing Dynasty, but also brought us an important topic, that is, social economy. The development of culture plays a leading role in the development of art. Yun Shouping's arrival in Yangzhou is the driving force to attract painters in Yangzhou under the development of Yangzhou society. To a certain extent, his situation in Yangzhou also stems from the fact that it does not meet the requirements of painting in the social environment of Yangzhou in the early Qing Dynasty. Art is always serving the existence of the society, and the existence and development of different arts are gestated under different background of the times.
【學(xué)位授予單位】：揚(yáng)州大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J212

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本文編號(hào)：1671029