A Paradigm and Turning Point of “Hsieh-Yi” Flower Paintings: A Study of Hsu Wei’s “Flowers and Bamboo”

• Main Authors: Shen-Dien Liu, 劉昇典
• Other Authors: 石守謙
• Format: Others
• Language: zh-TW
• Published: 2016
• Online Access: http://ndltd.ncl.edu.tw/handle/2pg94s

碩士 === 國立臺灣大學 === 藝術史研究所 === 104 === This Study is about the “Paradigm Shift” of “Hsieh-Yi Flower Painting”（寫意花卉）in early modern China, focuses on Hsu Wei’s（徐渭） “Flowers and Bamboo”（花竹圖） in National Palace Museum and “Sixteen Flowers” （十六花姨圖）in Philadelphia Museum of Arts. In the first, combs out and concludes from the original module of “hsieh-yi” flower paintings before Hsu Wei, confirming the original paradigm of this painting class could be settled on Monk Muqi（牧谿）at late Southern Sung, discussing the development and variants since then. Secondly, establishing Hsu’s painting style by re-organize his biography, relationships and famous art works. By comparing two of the most similar hanging scrolls — “Flowers and Bamboos” and “Sixteen Flowers”, summed up the re-construction and re-definition of “Hsieh-Yi” flower painting in Hsu’s hand, who established the Neo-Paradigm of this painting class. At last, discussing a group composed of literal painters who sell their works for living in Qing Dynasty, inherited Hsu’s style and spread to the art market since Mid-Qing .