本論文主要探討十六至十七世紀的仙境繪畫及其所反映的仙境觀念，並以歸入仇英名下的仙境圖為中心，通過分析畫中的內容意涵，藉以展現十六至十七世紀明人對仙境圖處理的多樣性。 / 基於現時傳為出自仇英手筆的仙境圖最多，仇英可以說是當時十六至十七世紀對仙境題材創作情況的一個縮影。加上，仇英作為十六世紀具代表性的職業畫家，其仙境圖很有可能是針對具體的「使用對象」而生產，迎合不同人的不同想法和需要。在這種前提下，本文將仇英以及託名仇英的仙境圖理解為十六至十七世紀藝術市場需求下的產物，並從剖析它們的題材和構圖入手，以揭示受畫人對於仙境畫作的情感寄託。 / 所謂仙境圖，即是描繪神仙所居的圖像。仙境圖可歸入山水畫科，而且與山水畫的界定比較模糊。就畫中不同的圖像表現，可將仇英名下的仙境圖分成五類：第一種是以個別神仙入畫的仙境圖；第二種是畫中出現道士煉丹場景的仙境圖；第三種是畫有等候飛昇的歷史人物的仙境圖；第四種是描繪「桃花源」主題的仙境圖；最後一種是懷有文人情調的仙境圖。 / 本文以其中三類仙境圖為例，指出時人對仙境的運用各有差別：以個別神仙入畫的仙境圖較適用於壽慶場合，畫有道士煉丹場景的仙境圖則似是作為當時追求長生的慰藉，而以文人形象入畫的仙境圖即蘊含隱世思想；從而說明這些仙境圖在明代社會中發揮不同的作用，傳達不同的信息，滿足不同的需求，反映出繪畫與使用場合及使用對象之間的緊密關係。 / This thesis attempts to study the immortal landscape paintings from the sixteenth to seventeenth century as well as the ideas on the realm of immortals embodied in these paintings. Focusing on the immortal landscape paintings attributed to Qiu Ying, this thesis analyses their themes and allusive meanings, and thus presents the diversity in the diverse approaches adopted in the immortal landscape paintings in the late Ming period. / Since a majority of the immortal landscape paintings survived today is attributed to Qiu Ying, his works can be seen as the encapsulation of the artistic creations on the theme of the realm of immortals dated in the sixteenth and seventeenth century. A representative professional painter of the time, Qiu Ying probably produced his works for a certain group of intended audience in accordance with a variety of ideas and needs. With this presupposition this thesis regards Qiu Ying’s works and the imitations of such as the products responding the demands of the art market in the sixteenth and seventeenth century. Through an analysis of the subject matter and composition of the paintings, this thesis reveals the sentimental values held by the immortal landscape paintings for their possessors. / Depicting the dwellings of deities, immortal landscape paintings can be identified as a sub-genre of landscape paintings and are hardly distinct from other landscape paintings. The immortal landscape paintings by Qiu Ying can be classified into five types in terms of visual elements, including: I) particular deities; II) Taoist adepts practicing alchemy; III) historical figures awaiting respectfully for ascending to celestial realms; IV) Peach Blossom Spring, the Chinese equivalent of utopia; and V) scenes imbued with literati spirit. / Of these five types of immortal landscape paintings, examples from three are selected to demonstrate their different functionalities in Ming society; immortal landscape paintings portraying particular deities were created for festive occasions, while those depicting Taoist alchemy and literati figures offered reassurance on the quest for immortality and implied reclusive spirit respectively. Through a detailed investigation this thesis illustrates that immortal landscape paintings were produced to serve a variety of functions, to convey different messages, and to accommodate various needs in Ming society, thus testifying the close association between paintings, objects of utility and the occasions they are created for. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 楊晉宜. / "2012年8月". / "2012 nian 8 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 105-122). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract in Chinese and English. / Yang Jinyi. / 內容摘要 --- p.i / 誌謝辭 --- p.v / 前言 --- p.1 / Chapter 一、 --- 研究動機與目的 --- p.1 / Chapter 二、 --- 近人研究概況 --- p.3 / Chapter 三、 --- 研究意義 --- p.5 / Chapter 1. --- 仇英仙境圖作為道教藝術的一個面向 --- p.5 / Chapter 2. --- 仙境圖作為十六世紀藝術市場需求下的產物 --- p.7 / Chapter 第一章 --- 研究對象的釐清與選取 --- p.9 / Chapter 一、 --- 仇英與仙境圖的關係 --- p.9 / Chapter 二、 --- 仙境圖的定義 --- p.16 / Chapter 三、 --- 仇英仙境圖比例分析 --- p.24 / Chapter 1. --- 數字統計 --- p.24 / Chapter 2. --- 歸納分類 --- p.31 / 小結、仙境圖類型與研究路徑 --- p.38 / Chapter 第二章 --- 仙境圖中的神仙與蟠桃 --- p.40 / Chapter 一、 --- 兩件畫作的產生情況 --- p.41 / Chapter 二、 --- 內容意涵的差異 --- p.44 / Chapter 三、 --- 為祝某人之壽辰 --- p.54 / 小結、神仙形象與仙境圖 --- p.59 / Chapter 第三章 --- 仙境圖中的道士燒丹場景 --- p.60 / Chapter 一、 --- 明代有關煉丹的畫作 --- p.61 / Chapter 二、 --- 燒丹與神仙的關係 --- p.64 / Chapter 三、 --- 煉丹對明人的意義 --- p.68 / Chapter 四、 --- 仙真與山水相融的構圖 --- p.71 / 小結、道士燒丹與仙境圖 --- p.74 / Chapter 第四章 --- 仙境圖中的文人雅趣 --- p.76 / Chapter 一、 --- 仙境圖中文人形象的顯隱差異 --- p.77 / Chapter 二、 --- 文人形象在仙境圖的其中一種作用 --- p.84 / Chapter 1. --- 以玉洞桃花造境 --- p.86 / Chapter 2. --- 人迹於仙山 --- p.90 / Chapter 3. --- 畫中人的真實身份 --- p.94 / 小結、文人形象與仙境圖 --- p.99 / 結論 --- p.101 / 參考書目 --- p.105 / Chapter 附表一、 --- 文獻著錄的仙境圖統計 --- p.124 / Chapter 附表二、 --- 仇英仙境圖列表 --- p.126 / Chapter 附表三、 --- 〈蟠桃圖〉各版本場景列表 --- p.128 / 圖版 --- p.131

Chan, Yuen Lai. / Thesis submitted in: December 2007. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (leaves 125-133). / Abstracts in English and Chinese ; some text in appendix also in Chinese. / Abstract / Acknowledgement / Table of Contents / Chapter 1 --- INTRODUCTION --- p.1 / Chapter 1.1 --- PAINTER'S EXPERIENCE IN LANDSCAPE --- p.1 / Chapter 1.1.1 --- Bodily experience and body metaphor of place from western philosophy --- p.2 / Chapter 1.1.2 --- "Jing, Guo Xi 226}0ةs three distances, and body as mountain and water" --- p.5 / Chapter 1.2 --- QUESTIONS AND HYPOTHESIS --- p.9 / Chapter 1.3 --- RESEARCH MATERIALS --- p.10 / Chapter 1.3.1 --- "Forms, words and images" --- p.10 / Chapter 1.3.2 --- Research materials --- p.11 / Chapter 1.4 --- RESEARCH METHODOLOGY --- p.11 / Chapter 1.4.1 --- Study of gardens from paintings --- p.11 / Chapter 1.4.2 --- Research methodology --- p.14 / Chapter 1.5 --- OUTLINE OF THESIS --- p.14 / Chapter 2 --- LANDSCAPED GARDEN FROM LANDSCAPE PAINTING --- p.17 / Chapter 2.1 --- WAYS OF LANDSCAPE DEPICTION --- p.17 / Chapter 2.1.1 --- Early landscape depictions --- p.17 / Chapter 2.1.2 --- Cultivated garden in natural landscape from Six Dynasties --- p.18 / Chapter 2.1.3 --- Monumental landscape in Northern Song --- p.19 / Chapter 2.2 --- EARLY QING NANJING --- p.20 / Chapter 2.2.1 --- "Geographical settings: Mountain, water and city" --- p.20 / Chapter 2.2.2 --- Garden culture --- p.21 / Chapter 2.2.3 --- Artistic milieu --- p.23 / Chapter 2.3 --- CHAPTER SUMMARY --- p.26 / Chapter 3 --- GONG XIAN: HALF-ACRE GARDEN ON THE MOUNTAIN OF PURE COOLNESS --- p.32 / Chapter 3.1 --- GONG XIAN THE LITERATI PAINTER --- p.32 / Chapter 3.1.1 --- Major Iiteratures on Gong Xian --- p.32 / Chapter 3.1.2 --- Gong Xian as an 'individualist' painter --- p.34 / Chapter 3.2 --- HALF-ACRE GARDEN ON MOUNTAIN OF PURE COOLNESS --- p.38 / Chapter 3.2.1 --- Mountain of Pure Coolness as a historical site --- p.39 / Chapter 3.2.2 --- Half-acre garden set within Mountain of Pare Coolness --- p.41 / Chapter 3.2.3 --- A glimpse through half-acre garden --- p.43 / Chapter 3.3 --- PERMEABLE GARDEN SPACE --- p.47 / Chapter 3.3.1 --- Ambiguous boundary --- p.48 / Chapter 3.3.2 --- Everyday social encounters --- p.49 / Chapter 3.3.3 --- Narrated landscape of the past --- p.52 / Chapter 3.3.4 --- Imaginary landscape of the mind --- p.53 / Chapter 3.4 --- CHAPTER SUMMARY --- p.54 / Chapter 4 --- YUAN JIANG: ZHAN YUAN [OUTLOOK GARDEN] --- p.60 / Chapter 4.1 --- YUAN JIANG THE PROFESSIONAL PAINTER --- p.60 / Chapter 4.1.1 --- Major literatures on Yuan Jiang --- p.61 / Chapter 4.1.2 --- Yuan Jiang as a jiehua painter --- p.62 / Chapter 4.2 --- ZHAN YUAN --- p.67 / Chapter 4.2.1 --- The evolutionary fame and popularity of the garden and its designations --- p.68 / Chapter 4.2.2 --- West Garden of Prince Zhongshan in early Ming --- p.68 / Chapter 4.2.3 --- West Nursery of Weigong in Ming Wanli reign --- p.69 / Chapter 4.2.4 --- Zhan Yuan during Qing --- p.70 / Chapter 4.3 --- TRANSFIGURED GARDEN --- p.77 / Chapter 4.3.1 --- "Survey on the garden 226}0ةs sceneries, and courtly and paradisiac symbols" --- p.77 / Chapter 4.3.2 --- Garden portraiture as courtly and paradisiac landscape --- p.80 / Chapter 4.4 --- CHAPTER SUMMARY --- p.82 / Chapter 5 --- SUMMARY AND POSSIBILITIES: PAINTER'S PERCEPTION OF GARDEN SPACES --- p.90 / Chapter 5.1 --- JING OF AN EXPERIENCED GARDEN --- p.90 / Chapter 5.2 --- TWO GARDEN READINGS FROM TWO ART TRADITIONS --- p.90 / Chapter 5.2.1 --- Garden boundary and conception --- p.90 / Chapter 5.2.2 --- Archetypal garden readings --- p.91 / Chapter 5.2.3 --- Themes of the memorable and the historical past --- p.92 / Chapter 5.3 --- INSIGHTS AND POSSIBILITIES --- p.92 / Append --- p.ix / Bibliography