陳洪綬人物畫之研究―兼論版畫中的人物形象

人物畫一向是中國繪畫史上的重要門類之一，其發展至唐代達到顛峰。不過，自唐以下，人物畫受重視的程度越來越低，純粹以山水或花鳥為主題的畫作因而崛起，並造成流行。山水畫儼然取代人物畫成為中國畫壇的新寵兒，而人物畫雖未必消聲匿跡，發展上卻停滯不前。這樣的情形到了明代終於有了改善，明代出現很多優秀的人物畫家，例如丁雲鵬、吳彬、崔子忠以及陳洪綬都是晚明時期復興人物畫的重要畫家。　　陳洪綬身處在明末政治腐敗、社會動盪的時代，然而城市的生活品質與文化發展，卻因工商業的發展而有了進步，文人參與書籍出版與書畫買賣，使得整個中、晚明社會的文化水準及藝術品味提升。身處晚明一個複雜、矛盾的時代背景下，文人往往帶有古怪、異常的個性與表現，其中陳洪綬就是一個很好的例子，他的怪異不僅僅表現在他的思想、行為中，也反應在他的藝術創作之上。陳洪綬雖為文人階層，然而他的繪畫風格卻同時呈現文人畫與職業畫匠畫的特色，原因在於他學畫的過程中，並不拘泥於一家或一代，而是帶著歷史宏觀的角度去多方汲取眾家之長，因此他的繪畫風格相當豐富，並且能從前人的影子中脫穎而出，創造個人的風格。尤其就人物畫來說，他是一個由明代過度到清代的關鍵人物，代表了明代人物畫發展的總結，也對清代初期的繪畫造成影響。本論文就試著就陳洪綬的人物畫進行研究，探討其身處在晚明的政治情勢以及社會環境的影響下，如何在人物畫發展趨緩的時候力挽狂瀾，以及他針對明代畫壇風氣所提出的見解。　　另外，陳洪綬在版畫史上的地位亦相當重要，他代表了將版畫藝術推向雅致、脫俗一面的重要角色，他幾組留世的版畫作品，呈現出不同於以往的版畫新風貌。而且，從他的版畫內容來看，也都是以人物為對象，因此本論文也對陳洪綬的版畫作品進行分析。

關鍵字

陳洪綬；人物畫；版畫

並列摘要

Figure Painting is one of crucial categories in Chinese painting history, and the figure Painting was at the summit of the development in Tang dynasty. Landscape painting, however, had replaced figure Painting to become a trend in Chinese painting after Tang dynasty, and the development of figure Painting tended to stop. The circumstance has not changed until Ming dynasty. There were plenty of famous figure painting painters, like Yun Peng Ting, Pin Wu, Tzu Chung Tsui and Hong Shou Chen. They contributed a lot to revive the figure painting in late Ming dynasty. Although Hong Shou Chen was a literator, his paining combined the characteristic of literati painting with the characteristic pf commercial painting. Because he integrated other painters’ strength into his painting, his works were fertile of imagination. Moreover, because Chen lived in Ming and Ching dynasty, he had a huge influence on human image in early Ching dynasty. The essay tries to do research on Chen’s human image and analyze how he devoted himself to accelerate the development of human image in late Ming. Also, Chen played a vital role in Chinese engraving history. He presented the engraving in an elegant way different from other painters, and some of his famous works had strong personality. Looking into the content of his engraving, the character was the only subject. Thus, this essay also analyzes Chen’s engraving works.