| Summary: | 碩士 === 國立中央大學 === 藝術學研究所 === 100 === The evaluation of the middle and late period of the Zhe school in the tradition of Ming painting, which is always influenced by the Late Ming literati painters, and Tung Chi-chang’s “Theory of the Northern and Sothern Schools of Landscape Painting,” is always low with the words such like Kuang-tai, an attitude of wildness, and Hsieh-hsueh, “The Heterodox School.” Shen Hao (1586-1661) is the first one who critically included Zhe painters into the “Northern School.” Kao Lien (around 1537-1604), who established the literati’s taste of connoisseurship, first brought up the idea of Kuang-tai and Hsieh-hsueh. Both the comment and the taste of connoisseurship caused the fame of Zhe school descending. This dissertation starts at examining the evaluation of the Zhe school, follows a case study of a painter, and aims to break the stereotype of them.
Zhang Lu (1490-1563) is the most important and famous painter of the middle and late period of the Zhe school, and his extant works is also most. He is good at figure and landscape painting. From two Zhang Lu’s biographies written by the Ming writers, and several articles in which people ordering or replying Zhang’s paintings collected in the Ming anthologies, more and more of Zhang’s life and experiment has explored. When Zhang studied in the Imperial Academy in Beijing, his paintings had an excellent reputation. Then he travelled through Shandong and Zhejiang Provinces, and finally returned to his hometown Kaifeng. There he associated with many famous northern literati, often painted for work, his fame lasted not less than which in Beijing. His hometown friend, Li Lien (1488-1526), is an important introducer recommending Zhang’s works. Zhang’s style was influenced by Wu Daozi (active among 713-755), Wang E (active around the late 15th century to the early 16th Century), and Wu Wei (1459-1508) sequentially. Then he developed the focused-on composition and the simple and clear brushwork as his own characteristic.
In Zhang’s professional career, he usually painted for acquaintances, and the Taoist and Buddhism painting were most popular. He was skilled in using thin lines to draw the facial expression, bold lines to outline the figure’s shape, emphasizing the personality of every figure. Another genre revealed his mind is the historical story figure painting. It was very possible these works were created for associating with literati’s poetry or calligraphy. In the cultural and artistic field of the middle Ming, Zhang Lu painted, and his literati friends created poetry and write calligraphy. It seemed like poetry, painting, and calligraphy in combination happened in the place where the literati held leisure activities, not merely on the surface of a painting.
Zhang Lu didn’t cause the fall of the middle period of the Zhe school. He is the proof that just after the court and outside the southern literati-painter’s context, that the Zhe painters were popular in the north, and associated closely with literati.
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