【作者】 孙旭光；

【导师】 张晓凌；

【作者基本信息】 中国艺术研究院 ， 美术学， 2009， 博士

【摘要】 本论文运用历史学和美术学的方法，通过大量的文献考证和图象分析，通过历史上恭王府的书画旧藏和当今恭王府博物馆的现在馆藏，依靠近现代美术史料以及相关回忆性文献，梳理溥心畲的活动及其生活背景；图像资料主要依靠恭王府及其它博物馆藏品、出版画册，并据此梳理溥心畲创作的基本面貌。采用图像与历史双重还原的方法和风格比较的方法。一方面将恭王府藏品的风格面貌与溥心畲其它作品进行风格比对，另一方面溥心畲作品比较于当时画坛，以期全面考察溥心畲独特的存在价值。全文共分六个部分。在导论部分交代了本文所涉及的主要概念，对目前学界关于溥心畲研究的现状进行了分析综述，并探讨了本文研究的主要问题、思路、研究方法和意义。恭王府与溥心畲早年生活经历一章介绍了恭王府这座有着二百多年历史，在清代历史上有重要地位的王府的历史变迁，以及从小生于斯、长于斯的溥心畲的生活历程和所带给他的影响。第三部分则着重对恭王府早期所藏的书画作品目录及流变进行了考证，并对当前所藏的溥心畲作品的形制、题材和题跋进行了梳理。然后专辟一章通过早期恭王府所藏的书画作品的分析探讨溥心畲的书风、其艺术中的北宗渊源以及他转益多师的利行合一。第五部分则对现恭王府的藏品研究和溥氏渡海之后在台湾的生活交游情况，分析他的晚年画风以及所体现出来的溥心畲的心性世界。总之，通过上述分析和探讨，可以看出溥心畲在二十世纪上半叶的传统文化风潮中代表了最为正统的文人画。他出身高贵，是同时代爱新觉罗家族中书画造诣最高者，但他的绘画却绝少受到西风东渐的美术革命的影响。他处处以古代文人的身份要求自己，生活质朴但不乏味，情调高雅而不和寡，以他的超然的诗、书、画艺为二十世纪上半叶的传统文人画树立了一座丰碑。更多还原

【Abstract】 The present dissertation reconstructs the activities and background of master Pu Xinyu’slife.It is a study based on different approaches,such as historiography and fine art studies,research on numerous literary sources and analysis of iconographic material.It relies oninformation about the works of art that in the course of history had been collected in thepalace of Prince Gong and those that are now preserved in the Prince Gong Palace Museum,as well as on sources about contemporary history of fine arts and memoirs related to thisartist.The iconographic material derives mainly from the collections of Prince Gong Palace,from those of other museums and from available publications of albums of paintings.Thepresentation of master Pu Xinyu’s artistic output has been done on the basis of this type ofsources which have been approached in retrospective through iconography and history,andthrough a comparative study of style.On one hand,the stylistic features of the workspreserved in the Prince Gong Palace have been compared to other works by Pu Xinyu;onthe other,Pu Xinshe’s creations have been assessed over against the artistic trends of thatperiod so as to appraise the unique value of Pu Xinyu’s works.This dissertation is composed of six parts.The introduction lays out the main concepts towhich reference is made in the course of the study.In addition,it provides an overview ofthe state of research on master Pu Xinyu and delineates the main issues,the rationale,themethodology and the significance of this dissertation.The first chapter narrates PrinceGong Palace and Pu Xishe’s early life experience.It describes the more thantwo-hundred-year old palace of Prince Gong,its crucial role within the historicaldevelopment of the Qing dynasty,as well as the influence it exerted on the life of PuXinshe who was born and grew in that palace.The point of the third part is researching thecontents of the calligraphy and paintings collected in Prince Gong palace and studying theform,subjects and inscriptions of Pu Xinyu’s works.The fourth part is specially comparingthe early collections in Prince Gong’s Mansion with Pu Xinyu’s works in order to analyzehis styles of calligraphy,the effect from the Northern School of Painting and his uniquestyle after learning from many important art schools.The last part is analyzing his innerworld exposed form the formal styles in his old age according to the research of thecontemporary collections in Prince Gong’s Mansion and life and travel after his moving inTaiwan.According the research above,we can come to the conclusion that Pu Xinyu is therepresentative of the most orthodox paintings in the first half of twentieth century.Heborn in the most honored Aishi Gioro family and had the best artistic attainments amonghis simultaneous family members.There is no influence form the west and the Fine ArtsRevolution in his paintings.He lives as the ancients all the time.His life is simple butinteresting,and his affective tone is lofty but amiable.His unique style of the calligraphy,painting and poem had set up a milestone for the Traditional Literati Painting.更多还原