Hui hua ru men: Qing mo Minguo de hua pu yan jiu = The ladder of learning painting : a study of painting manuals in late Qing and Republican China

Ph.D.As a special category, painting manuals which serve as a ladder of learning painting knowledge and skill provide learners with pictorial and textual guides and samples to follow step by step. They, together with a number of painting manuscripts and rhymes, construct and inherit the painting ideology, style and culture in the history of Chinese painting. The origin of Chinese painting manuals can be traced back to the Southern Song dynasty painter Song Boren’s Meihua xishen pu (Manual of Plum Blossom Likeness). It enjoyed further development in the Yuan and Ming dynasties, and reached the peak when Jieziyuan huazhuan (Mustard Seed Garden Manual of Painting) edited by Wang Gai produced in the early Qing dynasty. Past scholarly research focuses mainly on the painting manuals created in late Ming and early Qing dynasties, while those developed in late Qing and Republican periods have long been neglected. In view of this, this essay examines the characteristics and trends of painting manuals of the late Qing and Republican era, and contributes further to the issues of painting manuals in relation to the contemporary painting ideology, printing and publishing industry, art education and cultural exchanges between the East and the West.Most of the authors who created the painting manuals in late Qing and Republican periods were not well-known in the art history, thus they received fairly few attention from researchers. Their multiple identities, life experience and social circle caused different purpose, function and circulation of the painting manuals. Three case studies on the late Qing dynasty painting manuals include Guangdong literati Zheng Ji and his Menghuan ju huaxue jianming (Explanations of the Study of Painting by the Recluse Menghuan), Huajia sanmei (Painter’s Samadhi) by monk Zhu Chan, and Wang Yin’s several manuals on rocks, figures, orchids and bamboo done in Japan and China. Three of them were interconnected due to the shared historical background, regional factor and social circles. Painting manuals published in the Republican period revealed a close relation with the printing industry and art education. Gao Yehou from the Chung Hwa Book Company made great contribution to the publication of painting manuals, such as Zhang Zixiang ketu gao (Painting Manual of Zhang Zixiang) imitated and compiled by Ding Baoshu, Youlishanren jupu (Youlishanren’s Manual of Chrysanthemum) by Mou Guying, and Huang Ze’s Gufo huapu (Painting Manual of Ancient Buddha). Ye Jiuru who also engaged in the book industry and dedicated to promoting the painting tradition published Sanxitang huabao (Painting Manual of Hall of Three Rarities). Painters who devoted to the field of art education also produced painting manuals for teaching and learning, including Hu Peiheng’s Shanshui rumen (Introduction to Landscape Painting), Jin Zhang’s Haoliang zhile ji (Album of the Joy of the Fish), Ma Qizhou’s Ma Tai huabao (Ma Tai Painting Manual) and Hechao renwu huagao sanqian fa (Hechao’s Three Thousand Methods of Figure Painting) by Wang Yunxuan. These painting manuals demonstrate the alternation and inheritance of new and old painting ideology and lead people into the painting world.畫譜作為一個特殊的門類，由淺入深、循序漸進、圖文相配地為學畫者提供繪畫的教材及臨摹的範本，是掌握畫學知識和技法的入門之徑。在中國繪畫傳習的脈絡中，畫譜與一眾畫稿、畫訣相輔相成，共同建構出歷代的畫學思想與文化生活。中國畫譜的歷史源流可以追溯至南宋宋伯仁的《梅花喜神譜》，歷經元、明的發展，至清初王槩等所輯《芥子園畫傳》的出現達到頂峰。過往學者的研究主要以晚明清初刊行的畫譜為對象，而畫譜在清末民國的發展和影響就遠被忽視。有鑑於此，本文圍繞晚清民國的畫譜展開討論，考察畫譜的時代特色和趨勢，並進一步開拓畫譜與近現代畫學思潮、印刷出版文化、中外文化交流、美術教育等議題。清末民國畫譜的繪製人大多並非畫史上享負盛名的書畫大家，因而甚少進入研究者的視野。他們的身份多元化，生平經歷及交游圈的各異形成了畫譜不同的出版目的、功能與流通。晚清畫譜中以廣東文人鄭績的《畫學簡明》、釋竹禪的《畫家三昧》，以及赴日畫家王寅的數部畫譜最值得注目，此三種不同的面向和考察又因時代背景、地域性、交游圈等而相互交織。民國畫譜的出版與上海書業、美術教育息息相關。中華書局美術部主任高野侯積極推動畫譜的刊行，如丁寶書摹輯《張子祥課徒稿》、繆谷瑛《由里山人菊譜》和黃澤《古佛畫譜》；同樣從事書業的葉九如輯有《三希堂畫寶》，致力弘揚畫學傳統。不少投身美術教育界的畫家均有參與畫譜創作，為後學傾注了心力，包括胡佩衡《山水入門》、金章《濠梁知樂集》、馬企周《馬駘畫寶》和王雲軒《鶴巢人物畫稿三千法》。在二十世紀中國傳統文化處於風雨飄搖的年代，這些畫譜展現了畫學思想的新舊交替與延續，並由此導引人們走進繪畫的世界。温麗娜."2019年8月".Parallel title from added title page.Thesis Ph.D. Chinese University of Hong Kong 2019.Includes bibliographical references (leaves 212-312).Abstracts in Chinese and English.Title from PDF title page (viewed on February 23, 2022).Wen Lina