消遣与应酬——图像学视域下的吴昌硕全形拓补绘画研究

Entertainment and Social Engagement:Research on Wu Changshuo’s Holotype Topological Paintings from the Perspective of Iconology

全形拓补这类绘画作品大多是先拓下完整的青铜器形,然后再补画花卉等内容,这种绘画形式发源于清而兴盛于民国,并呈现出创作群体下沉的态势,随即又走向了衰落。作为民国时期海派画家的代表人物,吴昌硕留下了大量全形拓补绘画的作品,这其中又以使用鄦惠鼎拓片创作的一系列作品最为著名。这类作品大多是由于交往密切的朋友们的委托,而一些相对"私人化"的作品,大多是鉴赏拓片时的兴之所至,因此具有一定的"偶然性",这类作品更多地表现出一定的抒情意味,除了"好古"的时代风气之外,更多的应该还是画家个人的偏爱。

The holotype topological paintings are finished by developing the complete form of the bronze ware and filling up the patterns.This painting form started in the Qing Dynasty and gained popularity during the Republic of China period.Most creators were ordinary people.Soon,the paintings declined.Wu Changshuo,as a representative painter of the Shanghai school during the Republic of China period,created many holotype topological paintings.The most famous paintings were created with the rubbings of Xuhui Pot.Most holotype topological paintings were commissioned by close friends.And the"private"ones were often created on a whim.These works convey the ideals and preferences of the creators.