極妍盡態:惲壽平花卉畫風研究

Abstract

惲壽平作為清初六大家「四王吳惲」中唯一以花鳥畫科聞名的畫家，不只重振了畫科的地位，同時廣泛又深遠地影響了之後的花鳥繪畫。過往學界已然指出惲壽平和毗陵區域傳統的關聯，同時也藉由對歷代畫家的仿古角度切入討論，但受限於「沒骨」二字的琢磨推敲，使得有關惲壽平的探討始終落於技法層面上較多，加上數量龐大的作品群，難以更詳實具體地說明其藝術成就和價值。本論文即嘗試由惲壽平幾件重要核心作品入手，配合趨近豐富的脈絡史料文獻，直接從畫面風格看出其發明創新所在。 論文共分三章。首先以《惲壽平王翬花卉山水合冊》為主，論述兩人的合作冊頁如何反映畫家在各自畫科的習古態度及表現手法，惲壽平「博採眾家」的風格，實代表「讓賢」爭論中選擇花鳥畫科的積極企圖。其次，透過納入《雜畫冊》等其他作品，同時考量晚明清初的花鳥畫發展與視覺素材，指出惲壽平如何奠基於吳派文人花鳥傳統進行新的調整，呈現色調豐富變化和造型柔軟的視覺吸引效果。最後，如此畫面特質和十七世紀清初文人的審美風向相關，而藉由鄒一桂及方薰等人的個案研究，特別是畫論著述中都留意到設色一事，試圖建構惲壽平畫風在十八世紀時如何被承繼轉化。

Yun Shouping, the only artist among the "四王吳惲" of early Qing painting known for bird-and-flower subjects, not only revived the genre’s status but also had a profound and lasting influence on its later development. While previous studies have explored Yun’s ties to the Piling regional tradition and his approach to historical models, much of the discussion remains focused on technique—especially his famed boneless (沒骨) style. The vast number of his surviving works further complicates a full understanding of his artistic significance. This thesis examines several of Yun Shouping’s key works alongside contemporary textual and historical materials, aiming to identify his stylistic innovations through direct analysis of pictorial features. The first chapter analyzes the Album of Flowers and Landscapes by Yun and Wang Hui, showing how their collaboration reflects differing approaches to antiquity and how Yun’s eclectic style reveals a conscious effort to elevate bird-and-flower painting status. The second chapter incorporates works such as the Miscellaneous Album to demonstrate how Yun reinterpreted Wu-school literati traditions, enriching them with vibrant color and soft forms to enhance visual appeal. The final chapter explores how these qualities aligned with the aesthetic preferences of early Qing literati and traces Yun’s influence into the eighteenth century through case studies of artists and theorists like Zou Yigui and Fang Xun, particularly regarding their focus on color in painting theory.