黃慎人物畫風研究

Abstract

十八世紀揚州繪畫研究歷經數次轉向，從早期聚焦「揚州八怪」畫風之畫風論述，到後來更強調畫家與贊助人之間的互動等強調設社會網絡之研究關懷。近年來，研究不僅注重畫家的流動性及作品的脈絡化分析，也有呼應全球藝術史對區域互動的關注。本文在既有成果基礎上，探討黃慎的觀眾類型與交友網絡，指出贊助群體如何作為風格轉變與市場擴展的中介者。 第二章「黃慎的生平與畫風來源」本文重新檢視其早期創作脈絡，將黃慎標誌性的大幅立軸人物畫風的出現時間向前校正。時間點的前移，意味著該畫風並非源自揚州，而根植於他早年在福建與江西時期的賣畫環境。並指出黃慎在江西賣畫的經歷，使他可能受到八大山人一類的作品影響。第三章「黃慎在揚州與江南的賣畫經歷」黃慎入揚之後的畫風產生變化，他發展出多種畫科的製作能力、繪製新題材與改創古代人物造型。黃慎一方面快速吸收揚州文化，製作蘇軾、四相簪花等流行題材，一方面與鄭燮、李鱓等文人畫家交遊，顯示他融入揚州文藝圈的企圖。第四章「黃慎在江西與福建的賣畫經歷」黃慎晚年作品受到關注較少，但其實返閩後黃慎的畫風又有創新。此階段製作的人物畫卷品質極高，視覺上展現出既提及文本，卻又超越文本內容的內在邏輯。黃慎晚年與福建地方官員來往，得以進入官方的敘事體系，他的晚年也成為建構其歷史形象的關鍵時間點。 本文重新回應「區域畫風」與「贊助群體」兩項議題。透過黃慎個案，可見十八世紀人物畫逐漸擺脫單一區域畫風的理解框架，畫家在跨地域流通與風格選擇中取得較高的能動性，得以更積極地推動風格變化。然而，畫家的主導性並非全無限制，畫家的選擇仍受可獲取之作品素材與當時流行風格等條件所約束，黃慎便是在這些社會及市場的條件下，發展出多樣且具有畫史意義的風格面貌。

Eighteenth-century Yangzhou painting has undergone several historiographical turns: from early style-centered discussions focused on the “Eight Eccentrics of Yangzhou” to later approaches that foreground painter–patron interaction and, more broadly, social-network analysis. Recent scholarship further emphasizes artists’ mobility and the contextualization of works, aligning with global art history’s concern with interregional exchange. Building on this literature, this paper examines Huang Shen’s audience types and networks, showing how patron groups mediated stylistic change and facilitated market expansion. Chapter 2: “Huang Shen’s Life and Sources of Style.” Reconsidering his early creative context, this chapter shifts earlier the emergence of Huang Shen’s hallmark large hanging-scroll figure manner. Huang Shen’s Jiangxi selling experience indicates a likely influence from works associated with Bada Shanren. Chapter 3: “Huang Shen’s Painting-for-Sale Experiences in Yangzhou and Jiangnan.” After moving to Yangzhou, Huang Shen’s style changed: he developed competencies across multiple genres, introduced new themes, and actively reworked ancient figure types. He quickly absorbed Yangzhou culture, producing popular subjects such as Su Shi and the “Four Ministers Wearing Flowers” and associated with literati painters including Zheng Xie and Li Shan, signalling his intent to integrate into the city’s literary-art world. Chapter 4: “Huang Shen’s Painting-for-Sale Experiences in Jiangxi and Fujian.” Although his late works have received relatively little attention, Huang Shen innovated again after returning to Fujian. The figure handscrolls from this phase are of high quality and construct an internal visual logic that both references and surpasses textual accounts. His late-life interactions with Fujian officials enabled his entry into official narratives, making this period pivotal to the construction of his historical image. Revisiting “regional style” and “patron groups.” Through the case of Huang Shen, the paper argues that eighteenth-century figure painting gradually moved beyond a single regional-style framework. Via cross-regional circulation and deliberate stylistic choice, painters gained greater agency and actively promoted stylistic change. That agency, however, was conditioned by available materials and prevailing styles. Under these social and market conditions, Huang Shen developed a diverse yet recognizable stylistic profile.