清宮畫家焦秉貞繪畫研究-以耕織圖、仕女圖為例

• Main Authors: HO HSI YUN, 何熹昀
• Other Authors: 王雅倫
• Format: Others
• Language: zh-TW
• Published: 2013
• Online Access: http://ndltd.ncl.edu.tw/handle/89796493904863235735

碩士 === 國立高雄師範大學 === 美術學系 === 101 === Abstract Jiao Bingzhen (? -?) served in the Imperial Board of Astronomy in the reign of Emperor Kangxi. Under the subtle influence of the missionaries, he was gradually influenced by the west, which was presented in his paintings. Although not as brilliant as Lang Shining and Ding Guanpeng in the reign of Emperor Qianlong, he served as the essential pioneer introducing western elements to oriental imperial paintings in the early Qing Dynasty. Based on the literature review, the author explores Jiao Bingzhen’s life and activities in the imperial court and sorts out the context of introducing western elements to oriental paintings in the early Qing Dynasty. Focusing on Jiao Bingzhen’s figure painting, the thesis attempts to figure out the style of Bingzhen’s figure painting through the analysis of characters in "The Imperial Farming and Weaving Painting", "Beautiful Ladies" and "Stories of Virtuous Empresses in the Past Dynasties". In Emperor Kangxi’s second trip to the south, officials in the south of the Yangtze River offered him the printed edition of Lou Shu’s "Farming and Weaving Painting" as tribute. Emperor Kangxi deemed the painting would educate the officials to value and love farmers, so he decreed in the 35th year of Emperor Kangxi’s reign (1696) that the weaving painting should be created. Furthermore, the painting was made into block print and given out to officials. Emperor Kangxi entrusted the important work serving as the means of political propaganda to Jiao Bingzhen who served in the Imperial Board of Astronomy, since his distinct painting style was highly favored and appreciated by Emperor Kangxi. Jiao Bingzhen’s painting style integrating both western and eastern elements brought something new to the imperial court in the early Qing Dynasty. The rendering of beautiful ladies was different from that in other dynasties. The thesis analyses breakthroughs and innovations in Jiao Bingzhen’s painting of beautiful ladies, namely, "Beautiful Ladies" and "Stories of Virtuous Empresses in the Past Dynasties". Finally, the thesis probes into the continuation and inheritance of Jiao Bingzhen’s style. Based on the painting style of beautiful ladies by Jiao Bingzhen’s apprentice Leng Mei, and Chen Mei who was active in the reigns of Emperor Yongzheng and Qianlong, the author analyses their different fun and figures out Jiao Bingzhen’s status as well as his impact on future imperial painters in the Qing Dynasty. Key Words: Jiao Bingzhen, The Imperial Farming and Weaving Painting , Beautiful Ladies , figure painting