【作者】 林丹；

【导师】 陈江；

【作者基本信息】 华东师范大学 ， 中国史， 2017， 硕士

【摘要】 明代前中期,宫廷绘画繁荣,宫廷画家成为一个较为活跃的群体。他们以善画而闻名,绘画知识背景是他们成为宫廷画家的基础。一般宫廷画家的习画经历与文人画家相仿。他们通常学习经验式的中国古代绘画技法,熟悉绘画的"母题"、"画谱"和"粉本",以临摹和写形为基础进行绘画。从学画途径而言,他们往往都有良好的家学传承,有时也跟从与其有地缘关系的著名画家学习绘画。从绘画风格而言,明代前中期的宫廷画家的绘画风格分为"承元人余绪"和"融两宋于一体"两种不同的阶段。这些画家因善绘事而进入宫廷,从而改变了其社会地位。朝廷则根据其不同的身份,以主动延访画家和经人举荐等形式招入宫中。这些举荐者包括与宫廷画家有地缘关系的官员、具有艺术爱好的藩王以及在宫中从事绘画活动的其他宫廷画家。一些具有军户背景的画家凭借匠艺成为宫廷画家,他们被授予锦衣卫不完全是由明代官员的"寄禄"和"传奉"造成的,许多宫廷画家都因其祖父辈从戍而世袭为军户,进而袭替锦衣卫之职。从作画目的和情境而论,宫廷画家的绘画作品可分为职务画作和业余画作。明代的帝王肖像图、岁朝图和驺虞图是典型的职务画作。这些职务画作需要由帝王授命绘制,且获得帝王认可,展现帝王或者皇室形象,反映明代帝王与皇室的审美情趣。在这个过程中,宫廷画家常常利用宫廷社交获得物质赏赐和更高的身份地位,并与文人、官员甚至宦官交往密切。宫廷画家在业余时间,也与文人画家一样,参与雅集活动,绘制雅集图。无论是台阁雅集、文人雅集,还是复古派的雅集活动,宫廷画家的创作与文人画家无异,故不能只通过绘画风格断言其作者身份。然而,宫廷画家在文人画家对于"文人画"概念的自我反思中成为一个与文人画家对立的群体。同时,明代宫廷画家官僚化的过程也引起了一般官员的不满。明代中期,文人画家和朝廷其他官员对宫廷画家及其作品的评价急转直下。更多还原

【Abstract】 In 1368-1522,court paintings were flourishing.At that time,court painters played an important role in the art history.The civilian artisan painters’ learning experience of art was similar to the scholar-amateur artists’.They usually learnt empirical Chinese painting skills and tried to be familiar with ’motif’,’painting handbooks’ and drafts’,which were based on imitating and sketching.Since the most significant skill was imitating the ancient paintings,the groups of Chinese painters had become more and more ordinary.In terms of aproaches of learning,they received good family education and sometimes they learnt from painters who had good reputation in their local areas.With regards to the painting styles,they were seperated into two stages,one was the style of Yuan Dynasty and the other was the style of Northern Song and Southern Song.These painters who had a good grasp of Chinese painting were summoned to court,which elevated them on the social ladder.Accoding to their different hereditary classes(civilian artisans and military artisans),the ways of recuitments including visiting painters and recommanded by high officers,art lovers or other court painters were also different.Some military artisans became court painters because they had art talents.The reasons why court painters were granted for Imperical Bodyguard were not that they were appointed by ’Jilu’(寄禄)and ’Chuanfeng’(传奉),but their grandfathers or fatheres were soldiers and they could inherit their family’s privileges.Court painters’ works consisted of court paintings and amateur paintings.The typical kinds of court paintings were The portraiture of emperors in the Ming Dynasty,Sui Chao Tu and Zou Yu Tu,which were on emperor’s demandwon emperor’s favor,represented the image of the emperor or the court and reflected the esthetic sentiment of the emperor.During their work time,court painters often tried to interact with literati,officers and eunuchs in order to receive more material rewards and higher status.During their pastime,court painters participated in gathering and drew pictures about gathering like amateur painters.No matter what kind of gathering they joined in,such as officer gathering,literati gathering or Fugu group’s gathering,there were no differences between court painters and amateur painters,so the iditification of the painters could not judged by their styles of paintings.However,court painters did become an opposite group for amateur painters when amateur painters rethought their own iditification.At the same time,officers were not satisfied with the progress of the elevations of court painters.In mid Ming Dynasty,comments made by amateur painters and officers on court painters and their works were sharply downward.更多还原