| Summary: | 碩士 === 國立臺灣師範大學 === 藝術史研究所 === 104 === The present study examines the activities of Suzhou artists whose careers developed in areas away from Suzhou, focusing in particular on the Eighteen Scenes of Jinling that were painted by Wen Boren (1502- 1575) in 1572, during the reign of the Longqing era of the Ming Dynasty; the study seeks to clarify the background to the creation of the painting, as well as their possible relationship to the cultural atmosphere in Nanjing during the Ming Dynasty. While large numbers of poems and essays praising the beautiful scenery of Nanjing had been written since ancient times, paintings depicting Nanjing’s sights seem to have been a relatively late development, with the first significant works being the Eighteen Scenes of Jinling, an album of paintings of famous sights created by the Suzhou-born artist Wen Boren in the late 16th century. Nanjing-born artists themselves seem not to have taken an interest in depicting the sights of their home city until the 17th century. There is thus a rather unusual situation in that the first important paintings of Nanjing were painted by an artist from Suzhou, not an artist from Nanjing.
The research results obtained in the present study show that the background to the creation of the Eighteen Scenes of Jinling is in fact closely linked to the rise of local consciousness, growing awareness of the city’s scenic sights, and the development of the local cultural scene. The inscription by the artist included in the Eighteen Scenes of Jinling do not explicitly stated the sponsors and the content of the works provide clues which suggest that the works may well have been based on Wen Boren’s own direct experience of living in Nanjing over an extended period, as well as on Wen’s keen observation of market trends in the fiercely competitive late-Ming art market, rather than being products of the fashion for Ming artists to create paintings of places they had visited briefly on their travels. The study therefore takes the Eighteen Scenes of Jinling as a starting point for exploring the way in which Wen Boren utilized the Suzhou painting tradition to which he had been exposed to interpret and create an image of Nanjing.
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