湯貽汾繪畫研究

湯貽汾的繪畫成果與他的人生歷練及交遊的對象關係是相當密切，更可說是密不可分的；他的繪畫選擇來自於交遊之對象的啟發，他的繪畫轉捩點在於他遊歷四方後的感悟。而當時的時代背景，也突顯出湯雨生山水繪畫風格的特殊：在那個禮樂崩壞、國之將亡的時代，他堅持著對於文人雅士境界的嚮往在畫面上創造屬於自己心目中的理想國度，難得的是，在老年時他依舊對於國事孜孜不倦。在第二章湯雨生繪畫研究的部分，筆者將他的作品排列之後再作分期。其中在早期的畫作部分，由於流傳下來的數量稀少，因此僅能以畫史上的記載作為輔助資料，中期的畫作漸多，直到中晚年成熟期時達到數量及質量上的高峰。繪畫研究之後，第三章從他將清中期笪重光《畫荃》以及他為《畫荃》分目並作註記的《畫荃析覽》中交叉比對出他的畫學觀，並且將他的畫論觀點與畫作融合；最後，在以湯雨生對後人的影響為主作探討及定位。

關鍵字

清末；湯貽汾；湯雨生；四王畫派；京江畫派；常州畫派；海上畫派

並列摘要

Tang Yi-Fen painting results with his life experience and making friends in the object relationship is quite close, it can be said to be inseparable; his paintings selected from the intercourse of objects inspired by his painting turning point is that he traveled the Quartet after the sentiment. At that time, the background, also highlighted the particular style of painting in the Tang Yusheng: Ritual in the collapse, the country of the death of the era, he insisted the state's desire for the literati on the screen to create the ideal of their own country, and rare is that in old age, he still tirelessly for the affairs of state. Paintings in the second part of Chapter Tang Yusheng, the author will be arranged after his work for stage. One of the paintings in the early part, due to the number of rare handed down, so can only be painted as supporting information recorded in the history of the medium-term paintings, better old age until maturity in the quality and quantity reached the peak. Painting studies, the third chapter, he will be middle of the Qing Da re-light "painting Quan" and his "painting Quan" subhead and make note of the "painting Tsuen analysis of access" in the cross-match that he's Painting view, and his paintings and paintings on view integration; Finally, in the Tang Yusheng mainly on the impact for future generations to explore and positioning.