本文關(guān)鍵詞：清末民國(guó)時(shí)期博古畫的形成與表現(xiàn)　出處：《河北師范大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

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【摘要】：“博古圖”這一詞語(yǔ)最早出現(xiàn)于北宋徽宗時(shí)期編著的《宣和博古圖》之中,是描繪著錄當(dāng)時(shí)所見商周時(shí)期青銅器形制與圖案的繪本圖譜作品。一直到明代,“博古圖”這一詞語(yǔ)的概念都很穩(wěn)定。到了明代中晚期,又出現(xiàn)了一種描繪文人集會(huì)鑒賞古物場(chǎng)景的“博古圖”作品。可以說,博古題材作品從產(chǎn)生之后,其發(fā)展就一直未曾間斷。清代初期到中期,宮廷畫家以傳世的明代“博古圖”為藍(lán)本,創(chuàng)作了表現(xiàn)宮廷女子鑒賞古物的博古題材繪畫作品。清末民國(guó)時(shí)期,又出現(xiàn)了把金石鼎彝的全形拓本或繪本與傳統(tǒng)清供題材中的蔬果花卉相結(jié)合的“花博古”作品。從19世紀(jì)初葉到20世紀(jì)40年代這100多年的時(shí)間里,是博古題材繪畫的鼎盛時(shí)期。博古題材的出現(xiàn),與中國(guó)傳統(tǒng)的“雅好博古”文化背景是分不開的,博古題材繪畫的繁榮期必定是金石學(xué)、考據(jù)學(xué)的繁榮期,清末民國(guó)更是如此,乾嘉以降,樸學(xué)大興,金石學(xué)的研究空前絕后,同時(shí)在這一時(shí)期也有大量古物出土。因此,文人士大夫之間博古好古之風(fēng)日益盛行。全形拓本的出現(xiàn),社會(huì)經(jīng)濟(jì)的發(fā)展,花鳥畫的繁榮等都是清末民國(guó)時(shí)期博古題材繪畫創(chuàng)作繁榮的原因。當(dāng)時(shí)的金石學(xué)家、畫家、商人皆喜好古物,還出現(xiàn)了許多頗有造詣的金石學(xué)者。這一時(shí)期的博古繪畫作品大部分需依靠收藏家、傳拓者和畫家共同合作完成,這些作品不僅是別具一格的創(chuàng)作,更是金石文化的載體。此一時(shí)期創(chuàng)作的博古題材繪畫面貌豐富,形式多樣。其與歷史上出現(xiàn)的博古題材繪畫既有聯(lián)系也有區(qū)別,其創(chuàng)作原因、形成背景、具體表現(xiàn)以及以往研究者對(duì)其研究過程中所產(chǎn)生的錯(cuò)誤認(rèn)識(shí)等均值得梳理與探討。研究博古題材繪畫的論著很多,但單獨(dú)研究論述清末民國(guó)時(shí)期博古繪畫題材作品的論著并不是很多,在以往的研究論著中,研究者往往把清末民國(guó)時(shí)期的博古繪畫等同于海派博古繪畫,把此一時(shí)期的博古題材創(chuàng)作等同于“花博古”的創(chuàng)作,把以鐘鼎彝器與花卉蔬果結(jié)合的作品冠以西洋畫中“靜物畫”這一概念。這些觀點(diǎn)可以說并不嚴(yán)謹(jǐn),值得進(jìn)行商榷。因此本文從博古題材的發(fā)展脈絡(luò)入手,著重整理相關(guān)的文獻(xiàn)與資料。通過這些具體的資料,試圖探討此一時(shí)期博古畫形成的原因、形成過程與具體表現(xiàn)。通過引用、對(duì)比、例證等方法佐證自己的觀點(diǎn)。本文分為四大部分:第一章,著重梳理博古題材繪畫從宋代產(chǎn)生之后到民國(guó)時(shí)期的發(fā)展脈絡(luò)。第二章,著重探討清末民國(guó)時(shí)期博古題材繪畫的形成與繁榮的原因。通過歷史背景、環(huán)境因素等進(jìn)行探討。第三章,著眼于描述清末民國(guó)時(shí)期博古題材繪畫的具體體現(xiàn),按時(shí)間先后、作品面貌、創(chuàng)作者身份等進(jìn)行分類,結(jié)合具體作品以及與作者相關(guān)的圖片、資料進(jìn)行闡述。第四章,描述當(dāng)今博古題材繪畫的創(chuàng)作現(xiàn)狀,對(duì)當(dāng)今的博古繪畫題材研究加以總結(jié)。
[Abstract]:The word "Bo Gu Tu" first appeared in the "Xuan and Bo Gu Tu" compiled in the Northern Song Dynasty Huizong period. It was a pictorial work depicting the shapes and patterns of bronze wares in Shang and Zhou dynasties, which was recorded at that time, until the Ming Dynasty. The concept of "Bogu Tu" is very stable. To the middle and late Ming Dynasty, there appeared a kind of "Bogutu" works describing the literati gathering and appreciating the antiquities scene. Its development has not been interrupted. From the beginning of the Qing Dynasty to the middle of the Qing Dynasty, the palace painters based on the Ming Dynasty "Bogu Tu" as a blueprint, created the palace women appreciation of ancient objects Bogu theme painting works. The late Qing Dynasty and the Republic of China period. "Flower Bogu" works, which combine the whole form of Jinshi Ding Yi or picture book with the traditional fruits and vegetables and flowers in the theme of the Qing Dynasty, have appeared in the period of more than 100 years from the beginning of 19th century to 1940s. Bogu theme painting is the heyday. The appearance of Bogu theme is inseparable from the traditional Chinese cultural background of "Ya Haobogu". The prosperous period of Bogu painting must be the period of gold and stone, and the prosperous period of textual research. In the end of the Qing Dynasty, the Republic of China was even more so. Qianjia came down, and the study of gold and stone was unprecedented. Therefore, a large number of antiquities were unearthed in this period. Among literati, literati and officials, the ancient style of "Bogu" is becoming more and more popular. The appearance of "holographic extension" and the development of social economy. The prosperity of flower-and-bird painting was the reason for the prosperity of Bogu painting in the late Qing Dynasty and the Republic of China. At that time, the goldstone scholars, painters and businessmen all liked antiquities. There are also many accomplished scholars of gold and stone. Most of the paintings of this period have to rely on collectors, propagandists and painters to work together, these works are not only unique creation. It is also the carrier of the golden stone culture. The painting of Bogu subject matter created in this period is rich in appearance and diverse in form. It has connection and difference with the painting of Bogu theme which appeared in history, and the reasons for its creation and the formation of the background. It is worth combing and discussing the concrete performance and the error-cognition that the researcher produced in the course of his research in the past. There are many works on the subject of Bogu painting. But there are not many works on Bogu painting in the late Qing Dynasty and the Republic of China period. In the previous works, the Bogu painting in the late Qing Dynasty and the Republic of China period is often equated with the Shanghai School Bogu painting. The creation of Bogu subject matter in this period is equated with the creation of "Flower Bogu", and the combination of Zhongding Yi wares with flowers and vegetables is appraised by the concept of "still life painting" in western paintings. These views can be said to be not rigorous. Therefore, this article from the development of Bogu theme, focusing on sorting out the relevant documents and materials. Through these specific materials, try to explore the reasons for the formation of Bogu painting in this period. The formation process and specific performance. Through citation, comparison, examples and other methods to support their views. This paper is divided into four parts: chapter one. The second chapter focuses on the formation and prosperity of Bogu painting in the late Qing Dynasty and the Republic of China period through the historical background. The third chapter focuses on the description of the Bogu painting in the late Qing Dynasty and the Republic of China, according to the time sequence, the appearance of the work, the identity of the creator and so on. Combined with the concrete works and related pictures and materials. 4th chapters, describes the current situation of Bogu painting creation, and summarizes the current research on Bogu painting.
【學(xué)位授予單位】：河北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J209.2

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