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晚明肖像写真画之所以突然而出人意表地在17世纪当中,跃升至严肃艺术的层次,有可能是肇始于两股动力的汇合:一方面是由于此一时代的关注所在,越来越注重于个人;另一方面则是因为由欧洲传入中国的艺术创作手法,比起中国以前的绘画传统,都更加重视画中形象的个别特质。正是在这样内外合力的推动下,以曾鲸为代表的“波臣派”孕育而生。本文以曾鲸的肖像画风格的形成“波臣之学”—“墨骨法”为线索,对曾鲸肖像画做分析研究,进而说明其对后世的影响。
The reason why portraits of portraits of late Ming dynasty suddenly and unexpectedly jumped to the level of serious art in the seventeenth century may have originated from the confluence of the two motives: on the one hand, the focus of this era is getting increasingly On the other hand, because of the way of artistic creation introduced from Europe into China, the individual traits of the images in the paintings are all the more emphasized than the traditional Chinese painting traditions. It is in this combination of internal and external impetus to the whales as the representative of the “Bauchen school” born. This essay takes the formation of the portrayal of the portrait of whale as a clue and analyzes the portrait of once whale portraits in order to explain its influence on later generations.