清中晚期杭州地區花卉卷研究

The Flower Handscrolls of the Hangzhou Region in the Middle Qing Dynasty

梁凱婷(Kai-Ting Liang)

指導教授 ： 莊素娥

共同指導教授 ： 黃立芸(Li-Yun Huang)

國立臺北藝術大學/美術學院學術論文/美術學系碩士班美術史組/碩士(2016年)

摘要

花卉卷最能表現中國園林幽迴百轉的意境。觀賞花卉卷就猶如遊走於花園中，移步換景，時而徜徉時而駐足，在畫卷捲開前期待下一段落的風景。清代自乾隆末年至海派崛起之前，杭州地區的汪承霈、錢載、方薰、陳鴻壽、翟繼昌、董棨、陶琯、任熊、周閑等人，創作了許多精采的花卉卷作品，然而卻甚少受到討論。他們的詠花或賞花詩文提供了豐富的研究史料，本論文將以此為切入點，理解其思想理念與文化環境對花卉卷創作的影響。例如陶琯在綠蕉山館與妻女栽花蒔竹、同友人品賞古翫的生活，如何反映在其花卉卷上。

本論文共分為四章。第一章先就花卉卷的形制特性與歷代發展作一統整觀察。其次由栽花風氣、賞花活動、愛花形象三方面還原當時的社會背景，如《太平歡樂圖冊》記錄的杭州花卉貿易繁盛景況，清中晚期杭州地區花卉卷畫家的賞花景點、花間雅集，以及花卉在當時文人心中扮演的角色。第二章針對上述九位畫家進行個別研究，分析各人花卉畫風格特色的形成。第三章將本論文所選用之花卉卷代表作分為〝傳統典雅的折枝、瓜果器物的堆列、富空間感的取景、繽紛的滿版構圖〞四大類型，追溯其體系脈絡，包含與雜畫、草蟲畫之關連，四時花卉排序等，並歸納杭州地區花卉卷的地方特色。第四章探究清中晚期杭州地區花卉卷之內在精神，以〝生意、崇古、花隱〞論述其文人畫內涵。並舉楊伯潤等為例，探討海派興起後，杭州地區花卉卷的繼承與其式微原因。

關鍵字

花卉卷 ； 清代花鳥 ； 文人畫 ； 花隱 ； 花癖

並列摘要

Flower handscrolls best express the quiet, changing charm of Chinese miniature landscapes. Looking at a flower handscroll is like exploring a garden, as each corner of it provides a different view. As one wanders about and lingers on, the handscroll is ready to unfold more scenery.

In the Qing Dynasty, since the late Qianlong years until the rise of the Shanghai School, the painters of Hangzhou, such as Wang Cheng-pei, Qian Zai, Fang Xun, Chen Hong-chou, Zhai Ji-chang, Dong Qi, Tao Guan, Ren Xiong and Zhou Xian, created a vast number of remarkable flower handscrolls. Their works, however, are rarely the subject of discussions. The poems that they wrote, which describe the beauty of flowers and scenes of flower appreciation, contain ample historical details for researchers to use. Starting with this, this thesis delves into the painters’ thinking and the cultural background of the time, to see how such influenced the making of their flower handscrolls. Just for instance, Tao Guan used to plant flowers and bamboos with family and studied antiques with friends at the Green Plantain Mountain House (Lujiao Shanguan). This study looks at how clips of Tao’s everyday life at the Green Plantain Mountain House are presented in his handscrolls.

The thesis contains four chapters. The first chapter analyzes the types of flower handscrolls of the past dynasties and the historical development of this painting genre. The second chapter discusses the social aura of the time according to literature that recounts flower planting, flower appreciation and people’s love of flowers then. The Album of Happiness (Taiping Huanle Tutse) illustrated a prosperous flower trade of Hangzhou. This chapter also looks at the places where painters of flower handscrolls in the Hangzhou area appreciated flowers in the mid and late Qing Dynasty and the flower proses and poems they wrote, as well as the importance of flowers to the Qing literati. Chapter two studies the flower paintings of the aforementioned nine painters to see how their styles took shape. Chapter three examines the contexts of the flower handscrolls in question and the painting schools they belong to, by four main features, “graceful single branches of flowers,” “fruits and utensils arrangement,” “a view full of the sense of space,” and “a profuse, dazzling picture.” The links between flower handscrolls and the painting of miscellaneous themes and the painting of grass and insects, as well as the seasonal order of flowers, are studied. A small conclusion of the regional characteristics of Hangzhou’s flower handscrolls is made. Chapter four investigates the spirit of Hangzhou’s flower handscrolls in the mid and late Qing Dynasty, while analyzing the content of literati painting with three key terms, the force of life (Sheng-yi), the longing for antiquity (Chong-gu), and “flower recluse (Hua-yin).” Taking Yang Bo-ren and a few other painters as an example, this chapter also tries to understand how the painters of flower handscrolls in Hangzhou passed their skills and artistic thinking down since the rise of the Shanghai School, and why Hangzhou’s flower painting community eventually declined.

並列關鍵字

Flower handscrolls ； flower-and-bird painting of the Qing Dynasty ； literati painting ； flower recluse (Hua-yin) ； obsession for flowers (Hua-pi)

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