明代画家谢时臣研究

发布时间：2018-06-23 05:18

本文选题：谢时臣 + 绘画风格　；参考：《上海师范大学》2015年硕士论文

【摘要】：谢时臣是明代中期苏州的一位画家,他在正德、嘉靖年间颇负声望,但在死后却渐渐匿迹于画坛,甚少被人论及。谢时臣在绘画史上的“失踪”,是一个颇有意味的话题,作为生前受到诸多吴门画家的肯定的人物,他有大量较高质量的作品流传于世,而明清以来画史甚少提及却使今天美术史往往忽略这位画家的存在,其生平、画风,亦变得扑朔迷离。本文着眼于画家研究的基本方法,对谢时臣的生平、身份、传世画作、绘画风格及艺术成就、画史地位作一个全面的探究,希望籍此填补过去相关研究上的空白与不足。笔者认为,谢时臣的画风具有师承各家而浙派、吴派面貌并行的中间性,他的身份,则既有鬻画为生的职业画家特点,亦有业儒而丹青的文人画家情怀,因此画风与身份都具有模糊的多重性,这种多重性,使后世对他的评价褒贬判若二致,也因此令后人难以简单地对其进行归类谈论,而渐渐消失于画史。通过对谢时臣作为画家的生平与画风的研究与揭示,我们可以窥见这位明代中期画风在浙派与吴派、宗宋与宗元之间,身份兼有文人与职业画家的双重特点的画家的真实存在,而其画风与身份的多重性,在明代绘画的发展中并非个例,宗派论者简单地以浙派、吴派来归纳明代前中期的绘画史,既失之简单也失之刻板。谢时臣身份与画风的复杂性,提醒我们应该站在宗派论的立场之外看待明代绘画史,从而重视明代绘画发展中诸多画风具有兼容性的画家的成就与地位。
[Abstract]:Xie Shichen was a painter in Suzhou in the middle of Ming Dynasty. He was famous during the years of Zhengde and Jiajing, but after his death, he gradually hid himself in the painting world and was seldom discussed. Xie Shichen's "disappearance" in the history of painting is an interesting topic. As a figure who was affirmed by many Wu Men painters before his death, he has a large number of high-quality works circulating in the world. Since the Ming and Qing dynasties, the history of painting rarely mentioned, but today's art history often ignore the existence of this painter, its life, painting style, also become confusing. This paper focuses on the basic methods of painter research and makes a comprehensive exploration of Xie Shichen's life, identity, handed down paintings, painting style and artistic achievements, and the status of painting history, hoping to fill up the gaps and deficiencies in the relevant studies in the past. The author thinks that Xie Shichen's painting style has the middle character of the school of learning and the school of Zhejiang, the appearance of Wu school is parallel, his identity is not only the characteristics of professional painters living in Yu painting, but also the feelings of literati painters of Confucianism and Danqing. Therefore, painting style and identity have fuzzy multiple, this kind of multiple nature, so that later generations of his evaluation if two, but also make it difficult for future generations to simply classify and talk about it, and gradually disappear in the history of painting. Through the study and revelation of Xie Shichen's life as a painter and his style of painting, we can see the real existence of this painter who has the dual characteristics of literati and professional painter between Zhejiang School and Wu School, the Song Dynasty and the Yuan Dynasty. However, the multiplicity of painting style and identity is not an example in the development of painting in Ming Dynasty. The sectarians simply use Zhejiang School and Wu School to sum up the painting history of the middle and early Ming Dynasty, which is neither simple nor rigid. Xie Shichen's identity and complexity of painting style remind us that we should treat the painting history of Ming Dynasty from the standpoint of sectarianism, so as to attach importance to the achievements and status of many painters with compatible painting styles in the development of painting in Ming Dynasty.
【学位授予单位】：上海师范大学
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：J209.2

【共引文献】