齊白石花鳥畫研究

本文以齊白石的花鳥畫作品為主題，蒐羅來自世界各地公立博物館、美術館、學術機構、中國政府官方機構及齊白石親屬收藏之共計1,061幅的齊白石花鳥畫作品並建立完整資料庫，作為本文研究的根據及基礎。而在本文的論述中，首先切入齊白石的藝術學習歷程，著重在齊白石人生中的重要事件及明師貴人，對他繪畫藝術演變歷程所造成的影響。其後，再從花鳥畫的落款與鈐印切入，歸納出齊白石花鳥畫落款使用的字體比例，並羅列齊白石花鳥畫作各年代區間的專屬鈐印。在對齊白石的生平、花鳥畫落款及鈐印進行梳理後，有鑑於本文討論花鳥畫作品數量之龐大，為了能夠對畫作內容進行深入的探討，本文將齊白石的花鳥畫作品，再進一步區分為禽鳥畫作以及植物畫作。而在禽鳥畫與植物畫的大範疇分類之下，更依照題材細分，分別歸納出齊白石筆下的24種禽鳥題材與83種植物題材，並對於各類題材進行年代分布及畫面呈現搭配組合的整理歸納，以及包含畫作筆墨、用色、造型等的風格分析。綜觀學界的齊白石相關研究，目前尚未出現如本文般，對於如此數量龐大的齊白石花鳥畫作品進行系統化分析及整理歸納的研究。希冀以本文的問世，不但能為齊白石的花鳥畫建立完整系統，並釐清齊白石花鳥畫的演變歷程以及真跡的標準，更對齊白石花鳥畫的鑑識有所助益。

關鍵字

齊白石；花鳥畫；禽鳥畫；植物畫；年代分布統計；搭配組合統計；風格分析

並列摘要

Focusing on Qi Baishi’s bird-and-flower paintings, the thesis is composed of detailed discussions of Qi’s art pieces, with their sources from worldwide public museums, academic institutes, China authorities, and the collection of Qi’s family. To be more specific, 1,061 pieces of Qi’s bird-and-flower paintings are organized into databases, which become the solid foundation for the research conducted in this thesis. In the beginning of the thesis, the life of Qi Baishi is elaborated, with the emphasis on his art-learning process, the significant incidents in his life, and the teachers and friends of his, which had played major roles in the transformation of his art. Then, with the inscriptions and seals on Qi Baishi’s bird-and flower paintings examined, the proportion of the fonts in Qi’s inscription, and the exclusive seals used in different periods are displayed. In order to have a thorough analysis of the content in Qi Baishi’s bird-and-flower paintings, 1,061 pieces of paintings are divided into two categories: bird-themed paintings and plant-themed paintings. Under these two categories, 24 different kinds of birds and 83 different kinds of plants are analyzed in various phases, such as their time ranges, ways of presentation, and style analysis inclusive of their ink, colors, and profiles. Looking back to all the researches related to Qi Baishi in the past, there has not been any researches like the thesis, which systematizes and analyzes such a huge number of Qi’s bird-and flower paintings with definite sources. It is highly expected that the publication of the thesis not only establishes a complete system for Qi’s bird-and-flower paintings, clarifies the transformation process of Qi’s art and sets up the standards of Qi’s originals, but also contributes to the authentication of Qi’s bird-and flower paintings.