고기패(高其佩)의 회화와 회화론 연구

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The purpose of this thesis is to examine the art theory of Gao Qipei(高其佩) thorough analysis of his grandsons Gao Bing(高秉) writings, Treatise on Finger painting (指頭畵說). I have especially payed attention to the concept of 'xieyi'' (寫意, express the idea), and was able to observe the art theory of Gao Qipei as consisted of two kinds of concept, this is, the artistic and methodological.
Originally initiated by Zhang Zao(張璪 8c) of the T'ang dynasty in about the eighth century A.D. the finger painting was at a standstill during the Song, Yuan and Ming dynasties. In the Ch'ing dynasty, however, it was developed full-fledged by Gao Qipei.
Gao Qipei, the representative painter of finger painting, showed two characteristics in his finger painting, which are evident when meridian his works and Treatise on Finger painting by Gao Bing. First, Gao Qipei finger painting was connected with the element of Che-School(浙派) in the daring inking, strong expression and peculiar composition of drawing which omitted the background to emphasize the object. Second, it was linked to the Southern Literati painting style in a broad sense, since it attached more importance to xieyi rather than representation.
Followers of Gao Qipei artists who, fascinated by his technique and originality, embarked on their own experiments with finger painting or developed Gao Qipei's innovatory compositions and themes. There were dozens of these followers, some of whom are ranked among China's greatest painters. They fall into a number of categories. First there is the direct Gao Qipei 'school'-his son, grandsons, nephew Li Shizhuo(李世倬) and great-nephew by marriage Zhu Lunhan(朱倫瀚) were more important and original painters. Secondiy there are the painters known as the 'Eight Eccentrics of Yangzhou' a generation younger than Gao Qipei. From an art-historical point of view, Gao Qipei's followers from the circle of the 'Eight Eccentrics of Yangzhou' are the important. Painters such as Luo Qing(羅聘), Gao Fenghan(高鳳翰), Zheng Xie(鄭燮)and Li Shan(李鱓).
Although the heyday of Chinese finger painting was in the eighteenth century, the art form was still being practised in the nineteenth. Finger painting were poorly represented in the twentieth century before 1975. The most important of them was Pan Tian-shou(潘天壽).
One of the most fascinating aspects of Chinese finger painting is its dissemination in East Asia. The fact that japanese Ikeno Taiga(池大雅) has produced a large number of finger painting is in itself ample justification for embarking on a study of this art form, should one feel that the art of Gao Qipei, Luo Qing and Gao Feng-han were not sufficient reason. Finger painting enjoyed a brief heyday in eighteenth century Korea, too. Painters such as Chông Sôn(鄭敾), Shim Sa-jông(沈師正), Kang Se-hwang(姜世晃), Ch'oe Puk(崔北)and Yun Che-hong(尹濟弘)have lift us finger painting with a distinctively Korean favour.
Gao bing's Treatise distinguishes three phases in Gao Qipei's painting: the sparse, spiritual works of his youth; a mature middle phase in which every conceivable style is represented; and a phase of well-seasoned power towards the end. This classification is however too vague and stereotype to be of any real value. For now, all that can be side of Gao Qipei's development as a painter is that he obviously experimented with the possibilities of finger painting in his early work, worked in a virtuoso technique in the ensuing years and that the period around 1710 is marked by a concentration of works of sublime artistic quality. It would be premature to place his undated works in chronology with the dated ones. Looking at Gao Qipei's output as a whole, one is struck by an overriding impression of vigour. There is too much energy in his work for a literati painter.
Alternative Title
A study on the art of Gao Qipei and on his theory of Art
Alternative Author(s)
Yang, Yun
조선대학교 대학원
일반대학원 미술이론및행정학과
Awarded Date
Table Of Contents
제1장. 머리말 = 1
제1절. 연구 목적 및 대상 = 1
제2절. 본 연구의 방향과 구성 = 2
제2장. 청대(淸代) 전기 회화의 전개와 고기패 = 5
제1절. 청대 전기 회화의 전개· = 5
제2절. 고기패의 생애 = 8
제3장. 고기패의 지두화 = 11
제1절. 지두화의 유래 = 11
제2절. 고기패 지두화의 예술론적 특징 = 17
제3절. 고기패 지두화의 기법적인 특징 = 22
1. 운지법(運指法) = 22
2. 용묵·용색(用墨·用色) = 25
3. 용지와 낙관(用紙·落款) = 28
제4장. 고기패의 회화 세계 = 32
제1절. 산수화(山水畵) = 32
제2절. 인물화(人物畵) = 37
제3절. 영모화(翎毛畵) = 42
제4절. 화목화(花木畵) = 51
제5장. 고기패의 계승자 및 후대 영향 = 56
제6장. 맺음말 = 68
참고문헌 = 72
도판목록 = 75
도판 = 77
조선대학교 대학원
양윤. (2006). 고기패(高其佩)의 회화와 회화론 연구.
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General Graduate School > 3. Theses(Master)
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