Fa Shishan yu Qian Jia shi qi de Beijing hua tan =: Fashishan and the painting activities in Beijing during the Qianlong and Jiaqing reigns

Ph.D.Taking the various types of paintings collected by Fashishan (1753~1813), the poet, official and scholar living in the Qian-Jia period as the starting point, this article examines the various artistic activities he organized and participated in, and explores how Fashishan exerted influence and occupied an important position in the painting world in Beijing by “commenting on and collecting paintings, and rewarding painters with poetry At the same time, this case study of Fashishan reveals the interactions between the Beijing scholars and the painter group during the Qian-Jia period, and analyses the painting situation, the style and the transformation of traditional paintings at this time.This study first make a synthetic study of the intellectual atmosphere in the capital city during the Qian-Jia period. It points out that at this time, in order to build up personal image and reputation, scholars would use painting to record events and poetry to spread ideas. As a result, many cultural centers emerged in Beijing, and large-scale cultural events were held occasionally. Fashishan, who had diverse identities and lived in the Beijing inner city all his life, was respected for his academic and artistic accomplishments, as well as his social and cultural status. Because he was sociable and willing to promote subordinates, Fashishan had become one of the major hosts of many cultural centers and played an important role in the Beijing scholar circles.Secondly, it is found that Fashishan had collected paintings of portraits, studios-and-gardens, and scenic spots from about one hundred painters throughout his life, and had invited people to write colophons extensively. In these works, he cherished memory of sages, traced the traditions, reproduced the allusions, and commemorated relatives and friends. It was by means of these that Fashishan expressed his self-expectation, strengthened his self-image, and promoted his poetic concepts and achievements.Thirdly, this article sorts out the interactions between Fashishan and dozens of painters. Fashishan often organized elegant gatherings in his studio Shikan and the nearby Xiya area, and thus established a huge and dynamic social network with literati, officials, poets and painters. In many cases, Fashishan acted as a patron, giving help to painters, as well as supporting the painting production, collection, appreciation and circulation. Due to his comments and promotion, many painters became recognized and gained their name in the art world. Many of the works of painting and calligraphy in Fashishan’s collection had attracted scholars to copy and write inscriptions. Moreover, Fashishan initiated the production of many cooperative paintings, which fully reflected his strong charisma.Lastly, Beijing, as the capital city, with its rich resources, had attracted many non-local painters to stay, thus bringing in various unique regional styles of painting. Fashishan and many scholars in Beijing praised the painters in the form of poems, and also made use of their status and prestige in poetry and official position to make fame for the painters. As a result, a network of non-local painters and Beijing scholars was formed, thus facilitating the flourishing of the painting circles in Beijing during Qian-Jia period.This study focuses on the case of Fashishan, and involves many other painters, scholars and officials who lived in Beijing. It covers not only the discussion on the theme, style and content of the image itself, but also the consideration of its context and circulation. In addition, it examines how Fashishan influenced the Beijing art circles through his great support of the paintings and cultural activities, and provides a clear picture of the complex situation of the Qian-Jia painting circles in. It is hoped that this study would become a reference for the understanding of the long-neglected painting history in the capital Beijing.本文以乾嘉年間的詩人、官員、學者法式善1753~1813及其徵集和收藏的各類繪畫為切入點，考察其組織和參與的各項藝事活動，探索法式善通過“以詩論畫”“以詩徵畫”“以詩酬畫”“以畫存人”等活動在當時的北京畫壇中所發揮的影響以及佔據的重要地位。同時也通過法式善的個案反映乾嘉年間北京士人群體與畫家群體之間的互動情形，並由此對乾嘉時期北京的畫壇格局、繪畫風尚以及傳統繪畫於此時的風格潛變進行全面分析。本文首先對清代乾嘉時期的帝京士風進行了總結，指出此時士人以雅集、題詠為風尚，以圖紀事，以詩傳言，以期樹立個人形象與聲望。因此北京出現許多雅集中心，大規模徵題、徵繪的文化盛事時而有之。法式善常年居於北京，其身分複雜多元，兼具學術與藝術修養、社會與文化地位，又因獎掖後進、喜好交遊成為當時北京眾多文化中心的主持者之一，在京師士人圈中擔任重要角色。其次，法式善終其一生曾向約有一百位畫家徵集過肖像畫、書齋園林圖、勝景圖，並廣邀題跋，在其中緬懷先賢、追述傳統、再現典故、紀念親友，表達自我期許，實現形象塑造並宣揚了自己的詩學觀念與成就。再次，本文對法式善與數十位畫家之間的互動情形加以梳理。法式善經常在自己的居所詩龕以及附近的西涯勝地組織雅集活動，並因此建立了包含文人、官員、詩人、畫家等人數眾多、聯繫頻繁的社交網絡。其在許多情況下充當了顧遇人的角色，對畫家予以提攜幫助推動繪畫之創作、收藏、鑑賞、流通，經過他的品題與延舉，許多畫家得以身價倍增，在畫壇嶄露頭角。法式善收藏的眾多書畫作品亦成為士人爭相臨摹和題詠的對象。並且，法式善主導了許多合作繪畫，這種集體創作的現象也說明其號召力之強。最後，北京作為都城，人文薈萃，資源豐富，因此吸引眾多外地畫家至此寓居遊藝，帶來了各具特色的地方個性派繪畫風格。法式善等京師士人群體在題跋詩文中對畫家褒獎推舉，憑藉在詩壇、官場中的地位與聲望為畫家延譽揚名，形成寓京畫家群體與京師士人群體緊密聯繫的交遊網絡，共同造就了乾嘉時期北京畫壇的繁榮局面。是項研究以法式善的個案為核心，旁及眾多畫家、學者、官員，不僅包括圖像本身主題、風格、內容的討論，更涉及對圖像的創作情境與流通影響的考量。通過本文的研究，不僅能夠全面審視乾嘉時期舉足輕重的畫壇主盟者法式善所主導的一系列繪畫及其相關文化活動，還可以對乾嘉時期京師重地眾家紛呈的畫壇格局與複雜的藝術環境有全面和深刻的了解，對長期被忽視的北京地區的畫史有所補充。許珂."2019年7月".Parallel title from added title page.Thesis Ph.D. Chinese University of Hong Kong 2019.Includes bibliographical references (leaves 297-323).Abstracts in Chinese and English.Title from PDF title page (viewed on February 23, 2022).Xu Ke