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|Title:||文图学观点下的罗聘《鬼趣图》研究 = A study of Luo Ping's ghost amusement scroll in view of text and image studies||Authors:||李佩家 Lee, Pui Kar||Keywords:||DRNTU::Humanities||Issue Date:||2018||Abstract:||罗聘（1733-1799）清代著名画家，"扬州八怪"年龄最小一员。罗聘画路广泛，风格独特，其中最为人知的是一系列八幅的《鬼趣图》。此图题材的特殊性和题画诗的丰富令其广受讨论。目前学术界有关罗聘《鬼趣图》的研究，主要是从美术史的角度阐发，成果已灿然完备。故，笔者认为若继续以美术史为核心视角出发，研究罗聘的《鬼趣图》，不免有旧调重弹之嫌。有鉴于此，本论文拟用文图学的观点重新检视罗聘的《鬼趣图》，望可突破美术史研究的局限性及拓展新的论述空间。本文将首先从中国绘画史的画鬼传统中着手，再探究罗聘所处的清朝时代背景下的志怪小说创作风向及其对于金农画作的继承，从而梳理《鬼趣图》的创作背景。再者，本文也会解析《鬼趣图》中有关鬼的形象塑造、第八幅骷髅相的原型来源以及罗聘的作画技法，从而探析其中的文化符码，并试图还原罗聘绘制《鬼趣图》的过程。最后，本文结合了罗聘的诗文和其著作《正信录》，分析《鬼趣图》自题诗从缺的原因，由此推断他不自题的动机。此外，本文亦将研究罗聘《鬼趣图》的图像与他题诗的有机联系。 Luo Ping (1733-1799) was a famous painter in the Qing Dynasty. He was the youngest member of a group of painters that gained fame under the name of the "Eight Eccentrics of Yangzhou". The Ghost Amusement scroll is Luo Ping's well-known painting. This painting received a lot of attention due to its "uniqueness" and the large amount of inscribed poems present on the painting. There is already sufficient literature on Luo Ping's Ghost Amusement Scroll from the perspective of Art History in academia. In the hope of achieving new heights and breaking boundaries, this paper aims to study Ghost Amusement Scroll using Text and Image Studies as methodology. This dissertation begins with an introduction on the tradition of Ghost Painting in Chinese Art History and a summary of the prevailing literature trend about Luo Ping's Epoch background as well as the influence of Luo Ping's teacher, Jin Nong. This would allow us to grasp the background of which Ghost Amusement scroll was created in. The second part of the paper will cover the interpretation of the pictorial messages in Ghost Amusement scroll. This includes an analysis of the ghosts images, the source of skeleton's image and Luo Ping's innovative painting technique. Next, this paper would analyse the cultural symbols of the painting, in an attempt to unearth the process in which Luo Ping created the scroll. The last part will cover the reason for the lack of self-inscribed poems on the painting and also focus on the relationship between Ghost Amusement scroll and other inscribed poems on the painting.||URI:||http://hdl.handle.net/10356/73427||Fulltext Permission:||restricted||Fulltext Availability:||With Fulltext|
|Appears in Collections:||HSS Student Reports (FYP/IA/PA/PI)|
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