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| 從沈銓到南蘋風： 以沈銓《老圃秋容圖》（靜嘉堂文庫美術館）為例 |
| From Shen Quan to the Nanpin school: Shen Quan’s Autumn in an Old Garden (The Seikado Bunko Art Museum) |
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| 作者 |
黃立芸 |
| Author |
Li-Yun Huang |
| 關鍵詞 |
沈銓、
南蘋派、
花鳥畫、
東亞藝術文化交流
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| Keywords |
Shen Quan,
Nanpin school,
Bird-and-flower painting,
Art and cultural exchange in East Asia
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| 摘要 |
清代畫家沈銓（1682-1760?）曾於長崎停留近二年（1731-1733），其花鳥畫作品在十八世紀江戶時代（1603-1867）的日本十分受到歡迎，傳播的區域從長崎擴及京都、大阪、江戶乃至各藩，給予江戶時代各繪畫流派不同的刺激，學習者被稱為南蘋風、南蘋派。本論文以沈銓代表作之一的《老圃秋容圖》（1731 年，靜嘉堂文庫美術館）為中心，首先探討其在中國繪畫史脈絡中的定位，其次透過和南蘋派相關作品之比較，探討清代花鳥畫在日本傳衍與受容的幾個問題。
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| Abstract |
Chinese painter Shen Quan (1682-1760?) once sailed to Nagasaki where he remained for about two years (1731-1733). From Nagasaki to Kyoto, Osaka, Edo and other domains, Shen Quan’s bird-and-flower paintings spread to many cities and gained great popularity in 18th-Century Edo Japan. Painters of various schools working under his influence were called the Nanpin school. With a focus on one of Shen Quan’s representative works, Autumn in an old garden (1731, The Seikado Bunko Art Museum), this article firstly clarifies the position of Shen Quan in the context of Chinese art history. Secondly, by comparison with the paintings of the Nanpin school painters, this paper also discussed how the bird-and-flower paintings of the Qing dynasty were transmitted, accepted and transformed in Japan. |
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