Research on The New City of Feng in National Palace Museum

• Main Authors: Wen-wei Wu, 吳汶薇
• Other Authors: Cheng-hua Wang
• Format: Others
• Language: zh-TW
• Published: 2013
• Online Access: http://ndltd.ncl.edu.tw/handle/82768160694624143318

碩士 === 國立臺灣師範大學 === 藝術史研究所 === 101 === This thesis is focusing on the study of two paintings in National Palace Museum, The Official New City of Feng, and The New City of Feng by Tangdai and others. Both of these two works belong to Qianlong court paintings, The Official New City of Feng was created at 1744, and The New City of Feng by Tangdai and others actually has no date. But according to this study, The New City of Feng by Tangdai and others probably can be dated back in 1745 to 1754. These two works has both been inscribed on the same poem made by Qianlong, and were finished by the same group of court painters. Based on the common ground they shared, this thesis is mainly about putting them together and trying to reconnect the relation between these two. Furthermore, despite the familiarity both side possessed, The Official New City of Feng and The New City of Feng by Tangdai and others has different style and images from each other. Therefore, they are considered to be made with different intentions. This thesis will prove that The Official New City of Feng was made with three purposes. The first is to quote Li si-xun and Li zhao-dao's painting style, who are one of the most famous boundary painter inTang Dynasty. Secondary, it is made to integrate court and city life images; and last but not least, it is for reviving traditional boundary painting. On the other hand, The New City of Feng by Tangdai and others has two purposes: one is to reinterpret Li si-xun and Li zhao-dao’s style and the other is by quoting Yuanmingyuan’s architectural images to metaphorize that the “New city of Feng” is an ideal imperial residence as Yuanmingyuan. According to the study, we are now able to have a better peek of Qianlong court boundary painting. In the Ming Dynasty, boundary painting was under an recession and it can be discovered by two points. First of all, architecture motif is showing up not just on painting anymore but all other kinds of visual media as so it leads to the result that boundary painting was becoming the inferior category. The other one is as result of the fact the architecture style was getting more and more decorative and going further from the traditional realism. Hence, Qianlong court made series of official boundary paintings(The Official New City of Feng) in the purpose of reviving traditional boundary painting. The revitalization can be seen in two major ways: reinterpreting old architecture themes and expanding new themes; using Western perspective to achieve realism.