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|Title:||丘壑寄怀抱 ：赵孟頫《鹊华秋色图》与其题跋研究 = Aspirations within mountains and valleys : a study on Zhao Meng Fu’s the autumn colours on the Que and Hua mountains painting and its colophon||Authors:||林恩齐 Lim, Jasline En Qi||Keywords:||DRNTU::Humanities::Literature||Issue Date:||2018||Abstract:||纵观中国山水画的发展史，在元朝众多文人中，其中最杰出的书画家当属赵孟頫 （1254-1322）。他上承唐宋，下启明清，其纽带的作用绝对不容小觑。他身为南宋宗 室后裔，却出仕元朝，一生遭受非议。由于他并未实现其官场抱负，转而将满腔热忱 投入于艺术创作中。 赵孟頫的代表作品是一幅名为《鹊华秋色图》的中国山水画，刻画的是济南鹊、 华二山的郊外风光。他在积极提倡“托古改制”、“引书入画”之时，创作了这幅古 朴典雅、清新温润的经典画作。而观者可在画作中发现其简中求繁之意趣，和空灵悠 远的隐士意境。他通过不断的努力追求与绘画实践，开创了一代文人画新风，让文人 画成为元朝画坛的主流，并且对后世文人画的发展有着不可小觑的重要影响。 因此，笔者希望以《鹊华秋色图》与其题跋为研究对象，通过文图学研究法去深 入探讨以下三个议题：绘画中的画面构图、题跋内容和《鹊华秋色图》中绘画与题跋的相映成趣，希望能够了解赵孟頫创作这幅画的动机、以及他想表达的深层意涵。另外，笔者亦欲探究在元朝和后世画坛中，对于赵孟頫艺术造诣最真实的评价。 In the magnificent history of Chinese landscape painting, there are many literati painters in the Yuan dynasty but the most outstanding one was Zhao Mengfu (1254-1322). He plays an important role in connecting the art of Tang-Song Dynasty with the Ming-Qing Dynasty. Although he was a descendant of the Southern Song Dynasty, he was also a high-ranking official in the Yuan dynasty. This intriguing fact had caused him to be insulted by many people. As he was unable to fulfill his ambitions in life, he decided to devote himself into artistic creation. Zhao Mengfu’s representative work is a Chinese landscape painting entitled “The Autumn Colours on the Que and Hua Mountains”, which depicts the scenery of the suburbs of Jinan. He created this simple and elegant piece of classical painting with the interesting fusion of ancient painting techniques and an extraordinary touch of calligraphy. The viewer will be enthralled by the fascinating details of the painting and the delightful artistic concept of ethereal hermit life. Through continuous efforts and the pursuit of painting practice, he created a new style of literati painting, whereby allowing literati painting to become the mainstream of the Yuan Dynasty paintings. He has an extremely important influence on the development of literati painting. Through this paper, we would use the theory of Text and Image Studies to explore the artistic features of “The Autumn Colours on the Que and Hua Mountains”, reveal the inner beauty of colophon and examine the enchanting interaction between the artwork and its colophon. Also, the study aims to understand Zhao Mengfu’s motives for this painting creation, the in-depth significance in the painting and the realistic evaluation of Zhao Meng Fu’s artistic attainments in the Yuan Dynasty and the later generations.||URI:||http://hdl.handle.net/10356/76058||Fulltext Permission:||restricted||Fulltext Availability:||With Fulltext|
|Appears in Collections:||SoH Student Reports (FYP/IA/PA/PI)|
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