Ma Shou-chen, poet, calligrapher and painter was a courtesan of the Ming dynasty. By studying the life and works of Ma Shou-chen, who was not a member of either the scholar or the academic/professional class of artists but who was very desirous of conforming to literati aesthetic tastes in her artistic works, new light is thrown upon the problem of identifying new aspects of Ming dynasty literati aesthetic taste. A study of Ma Shou-chen’s works illuminates the question of identifying qualities of literati painting and also serves to examine the question of female artists in China. Female artists were known for their weak brush stroke and other negative qualities. Was this true, or was the "conventional wisdom" based on an attitude toward a female's social position rather than her ability as an artist? Ma Shou-chen provides us with a good example for examining these points. She is well-known in Chinese art history, yet she is discussed by Siren largely in sections restricted to female artists. In Chinese biographies too, mention of Ma Shou-chen is included with other female artists. The purpose of this thesis is to discuss a limited, though it is felt, a representative cross-section of her works with the aim of determining Ma Shou-chen’s place in art history. In Section I, biographical data concerning Ma Shou-chen is discussed. This includes an estimate of her active period (1570-1604). Her relationship with Wang Chih-teng, a leading literatus of the Suchow area, is examined together with an exploration of the relationship of special courtesans to the literati as a class. What this meant in Chinese society and the repercussions on the artistic output of courtesans is also discussed. Section II includes a discussion of the Chinese historical records which comment on Ma Shou-chen's works. There is also an exploration of the reason why certain artists and not others were named in records as having an influence on Ma Shou-chen's works. A brief discussion of the history of Chinese flower painting explains the relevance of placing Ma Shou-chen's works within the framework of literati rather than academic artists' works. A discussion of the critical comments regarding Ma Shou-chen's works by Chinese art historians gives rise to the possibility that critical comments were often based more upon social status than actual works. In Section III an analysis of Ma Shou-chen's artistic works, largely concerned with her speciality of orchid paintings, shows an historical process. However, there is no final classification of her undated works. In addition, the typical qualities of her works involves rather stable compositions, a propensity for stretching the brush strokes across the surface of the painting, little concern with atmospheric qualities or far distance. These facts serve to enhance the two dimensional quality of her paintings. This factor in turn serves to focus the attention of the viewer upon Ma Shou-chen's calligraphy. Section IV discusses the findings of the analysis of Ma Shou-chen's works in relation to Ming dynasty literati artists. This thesis concludes with the theory that smaller and more intimate literati works are more representative of the main- stream of literati artists in the Ming dynasty. The works of Ma Shou-chen, who was trained to respond to literati tastes and was an accomplished artist, show the more relaxed social atmosphere of the Ming dynasty. Two appendices are included. The first is a catalogue of the works of Ma Shou-chen discussed in this thesis. The second is a translation of the Chinese literary sources concerning Ma Shou-chen. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

蕭瑋文. / 論文(哲學博士)--香港中文大學, 2001. / 參考文獻 (p. 257-267) / 中英文摘要. / Available also through the Internet via Dissertations & theses @ Chinese University of Hong Kong. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Xiao Weiwen. / Lun wen (Zhe xue bo shi)--Xianggang Zhong wen da xue, 2001. / Can kao wen xian (p. 257-267) / Zhong Ying wen zhai yao.

王雅君. / "2001年6月" / 論文 (哲學碩士)--香港中文大學, 2001. / 參考文獻 (leaves 146-159) / 附中英文摘要. / "2001 nian 6 yue" / Wang Yajun. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2001. / Can kao wen xian (leaves 146-159) / Fu Zhong Ying wen zhai yao. / 前言 --- p.1 / Chapter 第一章 --- 時代背景 / Chapter 〔一〕 --- 清初花鳥書壇 --- p.4 / Chapter 〔二〕 --- 宮廷繪畫活動.: --- p.10 / Chapter 第二章 --- 生平 / Chapter 〔一〕 --- 畫學世家 --- p.18 / Chapter 〔二〕 --- 天涯宦跡 --- p.25 / Chapter 〔三〕 --- 內廷供奉 --- p.27 / Chapter 〔四〕 --- 衣錦還鄉 --- p.31 / Chapter 第三章 --- 畫論 / Chapter 〔一〕 --- 《小山畫譜》》》 --- p.34 / Chapter 〔二〕 --- 從《小山畫譜》看鄒一桂的晝論 / Chapter 一 --- 以萬物為師 --- p.38 / Chapter ´ؤ --- 形似 --- p.41 / Chapter ´ؤ --- 臨摹須得古意 --- p.43 / Chapter ´ؤ --- 兩字訣 --- p.44 / Chapter 一 --- 賦色雅俗 --- p.46 / Chapter ´ؤ --- 西洋畫 --- p.47 / Chapter 第四章 --- 花鳥畫藝 / Chapter 〔一〕 --- 早期風格淵源 --- p.51 / Chapter 〔二〕 --- 供奉時期的轉變 --- p.56 / Chapter 〔三〕 --- 晚年畫藝 --- p.67 / 結論 --- p.70 / 附錄一：鄒一桂年譜 --- p.76 / 附錄二：鄒一桂繪畫作品表 / 甲部：紀年花鳥作品表 --- p.93 / 乙部：無紀年花鳥作品表 --- p.108 / 丙部：山水作品簡表 --- p.134 / 丁部：人物作品簡表 --- p.145 / 參考書目 --- p.146 / 圖版目綠 --- p.160 / 圖版 --- p.162

本論文選取畫家符羅飛（1897-1971）進行研究，旨在通過文字及圖像史料復原這一被視作“歷史失蹤者的藝術家個案，並將其放在20 世紀中國藝術與革命互動關係的語境中進行考察。文章依據時序及符羅飛活動地點與内容的變化，分爲五個章節，結合文獻考據、視覺分析及藝術社會學等研究方法，分別探討他於20 世紀20 至60 年代在上海、意大利、香港及華南等地的藝術創作與社會活動，並著重觀察這位以藝術積極投入社會革命、且擁有明確政治信仰的畫家及其代表的群體，是如何通過主動轉變藝術面貌，從而與20 世紀中國社會的大變動連成一體。本文認爲：符羅飛於抗戰期間攜傾向古典寫實的那不勒斯畫派畫風及自創的水墨寫生歸國，但其藝術救國活動最初並未達至理想效果；直到40 年代中期才在通過不斷地寫生、辦展，逐漸吸收國統區漫畫與木刻中流行的德國表現主義元素，脫胎出具有強烈視覺刺激和道德感召力、又符合中共革命訴求的代表性藝術面貌，在特定的政治人群中得到廣泛承認，在此過程中輿論因素的影響不可忽視；同時，他的彩墨實驗等游離於政治目標之外的藝術活動打破了“革命畫家"的刻板印象；而他在政權鼎革後因未能適應高度一元化的藝壇新秩序而湮沒於混亂時世的最終命運，又折射出五四以來自由知識分子傳統與中共黨文化之間不可調和的矛盾。 / This thesis is a monographic study on the artist Fu Luofei (1897-1971), aiming to reconstruct his life and art with textual and visual historical materials, with focus on the interaction between art and revolution in the twentieth-century China. The five chapters of this thesis examine Fu’s artistic and social activities in Shanghai, Italy, Hong Kong and South China from the 1920s to 1960s chronologically, and mainly investigate how this artist, who had definite political belief and was willing to devote his art to social revolution, involved in and acted on the transformation of Chinese society in the twentieth century through continuously transforming his artistic styles. / As this study demonstrates, Fu brought back from Italy the representational painting style of the Neapolitan School and the achievement of his ink experiment in the late 1930s. However, his attempt on “saving the nation by art" did not succeed until mid-1940s. At that time, Fu established his signature style by absorbing the visual elements of German Expressionist paintings, one of the prevailing styles for cartoons and woodcut prints in the Kuomintang ruled areas. His signature style, which was strong in visual stimulation as well as in moral and emotional appeal, was developed through unceasing exchanges with the leftist critics and echoed with the political demand of the Chinese Communist Party. Meanwhile, as is rarely known, Fu also painted in the form of traditional guohua (Chinese national painting), which reveals a not-so-revolutionary side of the “revolutionary artist". His tragedy after the establishment of the People’s Republic vividly illustrates the irreconcilable conflicts between the May Fourth tradition of intellectual independence and the political culture of the CCP. / Detailed summary in vernacular field only. / 陳鶯. / Thesis (Ph.D.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 294-307) and index. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Chen Ying. / 導言 --- p.1 / Chapter 第一章 --- 留學意大利（1930-1938） --- p.12 / Chapter 第一節 --- 文獻回顧：留意傳奇與疑問 --- p.12 / Chapter 第二節 --- 歐遊前傳：上海美專及其它 --- p.17 / Chapter 第三節 --- 那不勒斯：特殊的選擇 --- p.22 / Chapter 第四節 --- 美術學院内外 --- p.29 / Chapter 第五節 --- “求真"與“人情"：學院傳統及留意畫作 --- p.49 / Chapter 第六節 --- 東方學院：在中意之間 --- p.67 / Chapter 第七節 --- 歸國始末 --- p.84 / Chapter 第二章 --- 一九三八年在香港（1938-1939） --- p.103 / Chapter 第一節 --- 登場 --- p.103 / Chapter 第二節 --- 抗戰救國理想的首次實踐 --- p.107 / Chapter 第三節 --- 中國筆作西洋畫 --- p.117 / Chapter 第四節 --- 社會網絡：文化人、政經界及同鄉會組織 --- p.127 / Chapter 第五節 --- 結果與現實 --- p.135 / Chapter 第三章 --- 從歐洲學院到中國現實（1939-1948） --- p.140 / Chapter 第一節 --- 北上行蹤 --- p.140 / Chapter 第二節 --- 風格改造：形式與内容 --- p.144 / Chapter （一） --- 1941年桂林展 --- p.145 / Chapter （二） --- 1943年“現實主義浪漫派"巡展 --- p.152 / Chapter （三） --- 1946至1948年穗港展 --- p.158 / Chapter 第三節 --- 代表性風格的面貌 --- p.164 / Chapter （一） --- 代表性風格的兩種類型 --- p.165 / Chapter （二） --- 保留的與捨棄的 --- p.171 / Chapter （三） --- 新風格形成期間所受之影響 --- p.173 / Chapter 第四節 --- 風格選擇的成因：表現主義與中國“現實" --- p.180 / Chapter 第四章 --- 重訪香江（1947-1949） --- p.189 / Chapter 第一節 --- 再度居港與文化人南下潮 --- p.188 / Chapter 第二節 --- 人間畫會：組織結構及主要活動 --- p.193 / Chapter 第三節 --- 左翼文藝標準的強化 --- p.202 / Chapter 第四節 --- “國畫"：代表性風格以外的藝術嘗試 --- p.210 / Chapter 第五節 --- 短暫的美國夢 --- p.218 / Chapter 第六節 --- 迎接新中國 --- p.226 / Chapter 第五章 --- 政治氣候的轉變（1949-1971） --- p.235 / Chapter 第一節 --- 從體制外到體制内 --- p.235 / Chapter 第二節 --- 過渡時期：以舊風格唱新語句 --- p.241 / Chapter 第三節 --- 代表性畫風的瓶頸 --- p.249 / Chapter 第四節 --- 描繪新生活 --- p.257 / Chapter 第五節 --- 傳奇落幕 --- p.265 / Chapter 結語 --- 自畫像：個人命運與時代洪流 --- p.271 / 中文參考文獻 --- p.294 / 外文參考文獻 --- p.304 / Chapter 附錄一 --- 符羅飛藝術活動年表 --- p.308 / Chapter 附錄二 --- 人名索引 --- p.321 / 圖版目錄 --- p.329 / 圖版 --- p.351

In Western scholarship, eighteenth century Chinese paintings have consistently been seen as playful, eccentric, and odd. This characterization has been based on the formal qualities of some of the paintings. At the same time, Chinese scholars have written of the scholarly virtues and ambitions of the painters producing the works. The contradiction between these two interpretations is in part consistent with the Western and Chinese approaches generally. But it also stems from the mixed signals and information generated in the eighteenth century. The nature of painting, not just formally, but socially has yet to be explained in a way which takes into account some actual historical contradictions of the eighteenth century. In order to explain these historical tensions, I combine a biographical (Chinese) approach with a contextual approach (Western) in a study of two different scholar painters, Zheng Xie and Li Shan. I juxtapose biographical sources with artworks, and less official writings relating Zheng Xie and Li Shan, in order to describe the tensions involved in painting for the literatus within the merchant culture of Yangzhou. These tensions existed between the literatus' expected status and that granted him, between his ideal of the role of painting in the scholar's life and the implications of commercial painting, and between his emphasis upon poetry and his popularity as a painter. In all cases, the tensions in eighteenth century literati painting arise from the difficult relationship between the painter and patron, and between the painter and the ideas of a broader public. The lack of a clear definition of "scholar" and "scholar painting" amongst literati illustrates the literatus' loss of control over the definition of his lifestyle. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate