This dissertation scrutinizes shinuhua (仕女畵, painting of court ladies) created over the whole span of the Qing Dynasty (淸代, 1644~1911) by classifying them according to specified time periods, analyzes the styles of those paintings popular in... This dissertation scrutinizes shinuhua (仕女畵, painting of court ladies) created over the whole span of the Qing Dynasty (淸代, 1644~1911) by classifying them according to specified time periods, analyzes the styles of those paintings popular in each period, and examines the changing social perceptions of women in such paintings. Shinuhua originally meant the paintings depicting the leisurely lives of court ladies or upper class women; however, in the Qing Dynasty they referred to the paintings of beautiful accomplished ladies (閨秀, guixiu), courtesans, and historical, mythological, and literary women besides court ladies. Therefore, in this shinuhua denotes female figure paintings in a broad sense. This dissertation divides the Qing Dynasty into four periods: from late Ming to early Qing; mid- Qing; late-Qing; and from late-Qing to early- Republic of China. In the Qing Dynasty, diverse literature, including biographies, poetry, novels, and album of woodcut prints, written by intellectuals addressed the lives of women, demonstrating a growing interest in women. Such texts might have motivated the creation of various shinuhua during this period. In the late-Ming and early-Qing periods, as the entertainment culture prevailed mainly in the major cities, such as Suzhou(蘇州) and Nanjing(南京), of the Jiangnan(江南) area, romance between famous intellectuals and courtesans became widely known to the world, thus resulting in the popularity of the courtesan culture. Most writings by the intellectuals of this period set up courtesans as a model of typical beauties. The paintings also illustrate courtesans as entertainers of various talents, who accompany the intellectuals. This shows that the courtesan culture, which peaked in the late-Ming and early-Qing periods, affected the paintings. Shinuhua of the mid-Qing period appeared more erotic and paid more attention to portraying the interior than those of the late-Ming and early-Qing periods. Elaborately drawn indoor furniture and props―candles, flowers, fruits, animals, and plants―insinuate the atmosphere and theme of a lady. In poems and novels, animals, plants, and other props surrounding a lady indicate her emotional state ─for example, love, longing, or loneliness. Moreover, luxuriously decorated furniture and splendid interiors depicted in the painting indicate the conspicuous and secular mid-Qing culture. Han Chinese culture integrating courtesans’ entertainment culture popular in the Jiangnan region and literati’s affection for painting, calligraphy, and antique was echoed in shinuhua of the non-Han Qing court. Not only the courtesan culture prevalent during the late-Ming and early-Qing periods, but also ancient books and antiques in the paintings did reveal that Qing court painters embraced Han Chinese culture. The late Qing shinuhua show forlorn ladies missing their departed lovers against the background of trees and natural sceneries. Such paintings arouse the poetic mood with poems, shi(詩) and ci(詞), of the Tang and Song dynasties in the blank space. While women depicted by painters during this period look feeble, their postures and shapes appear stylistic, which seem to have resulted from the connection to woodcut illustration books prevailing in the late-Qing Dynasty. The picture books of beautiful women introduce the stories of ladies that emerged in the history, fables, and literature of China and include the illustrations of such women. Considering that female figures included in the picture books bear much resemblance to the ladies depicted in the paintings, shinuhua of the late Qing may have been based on the engraved illustration books. Retro shinuhua emerged primarily in Shanghai in the late-Qing period counter to modern ladies portrayed during the transition period from the late-Qing to early-Republic of China eras. Painters who belonged to the Shanghai School (海派, haipai) made retro and decorative shinuhua based on popular folklore, imitating Chen Hongshou (陳洪綬, 1598–1652). Their works created on the basis of both tradition and popular taste inherited the lineage of the traditional shinuhua. On the other hand, Wu Youru (呉友如, 1850–1893) and others painted customs and images of modern women. Since the second decade of the 1900s, modern girls, who appeared thanks to the obliteration of feudal, ancient customs and the distribution of educational facilities for women, had been illustrated in the advertising posters called Yuefenpaihua (月份牌畵, Chinese Calendar Poster). Yuefenpaihua, however, replicated the late Qing courtesans who emerged as new, modern girls by advertising themselves through the photographs and lithographic printing materials newly invented in the late-Qing period. With the increase in the number of shinuhua, which were considered insignificant among Chinese figure paintings, varied female figures began to be depicted during the Qing period, this painting genre came to occupy a prominent place in the history of Chinese painting. Nevertheless, there has been no attempt to study shinuhua of the Qing Dynasty in general. Hence, I believe this research on the changes in shinuhua under the frame of the Qing Dynasty will benefit the ongoing and forthcoming comparative studies on Korean and Japanese paintings of beautiful women. ，免费韩语论文，韩语论文网站 |
