博士 / 國立臺灣藝術大學 / 書畫藝術學系 / 107 / This paper examines the eras and artistic ideasof the images of Liu Hai sporting with the three-legged toad from the Ming dynasty (hereinafter referred to as “Liu Hai images”). Through art historical, iconological, and stylistic analysis, this paper analyzes the Ming dynasty palace courtyardlandscape and the formal characteristics of Zhe painters’ works using different types of media. This is supplemented by traditional illustrations of children at play and toads as well as comparisons of works of Ming and Qing dynastyarts and crafts with images of Liu Hai sporting with the three-legged toad as their theme. These works are used to comprehensively analyze the period style of Liu Hai images and thereby interpret their unique artistic features.
First, considering the source of the Liu Hai images, play with a toad may be related to the custom of cleansing and exorcising evil spirits during summer and mid-autumn festivals in ancient times. In terms of theme, examination ofancient genre paintings of toad fight, such as Children Playing in Double Fifth by Su Chao of the Song dynasty, the silk-embroidered child’s robe unearthed from the Ming dynasty Wanli Emperor’s tomb, and Children Playing in Summer,revealed that all of these works involve children sporting with the three-legged toad to play and fight, similar to the imagery in the Liu Hai images of the late Ming dynasty, when the representation of children was developed.
Second, regarding the developmentof image, form, and style, evidence indicatesthat the Ming dynasty style exhibited several combinations and changes suggesting a connection between Liu Hai and the Eight Immortals and continuing the conventional association of Liu Hai with the three-legged toad from Immortal Liu Haichan by Yan Hui of the southern Song and early Yuan dynasties. The palace courtyard landscape features a birthday celebration and spiritual objects as symbols of longevity. Bodies of water are mostly employed as paradisiacal spaces, with immortals seeming to both fly and walk on the sea. In Liu Hai Playing with a Toad by the court painter Liu Jun, the immortal’schin is round and wide, with three neck lines, thus exhibiting characteristics of Buddha paintings. The clothing pattern is characterized by a linear fusion of zhélúmiáo(bent-reed drawing) and liǔyèmiáo (willow-leaf drawing)to express the rhythmic beauty of light garments fluttering inthe wind. Daoist garmentshave preserved the characteristic lapels and waist belts starting from the Tang and Song dynasties. The waist ornament is intertwined in a bow-like shape popular during the Ming dynasty, based on the similar sound of the characters “hú” (蝴) and “fú” (福).Shang Xi’s Four Immortals Saluting Longevity also featured soft figures withlong, thin legs and arms and invisiblejoints. The immortals ride magical artifacts or animals and lightly float and soar over the sea. The pattern of the waves is outlined with bold strokes, withthe curling ends of the ocean spray similar in shape to a toad’s digits. The Zheschool in the Minzhe area had a style characterized byrapid, thick strokes, a manner of placing meaning before form derived from the unrestrained brushstrokes of Liang Kai in the southern Song dynasty. In Painting of Liu Haichan by an anonymous artist ofthe Ming Dynasty, the clothing patterns are characterized by the jiǎnbǐ(shortenedbrush) style, yet are also similar to the bent-reed drawing style in that they follow rules; however, the brush movements are sometimes rounded. In The Jade Toad by Shih Wen, the figurecarriesa gourd around his waist, medicinal herbs, and a string of coins, presenting theimage of a well-traveled person, whereas rolled-up trouser legs exude a commoner, grassroots character.
Finally, the useof supernatural images to illustrate spaces inhabited by immortals is analyzed and proposed the use of paintings involving crossing the ocean to express the charm of immortals. During this period, Liu Hai images were presented in a new spatial form in painting. Through the theme of crossing the ocean by means ofspiritual objects, the depiction of immortal spaces emphasizes an airy feeling and the weight of objects. In addition, the forested mountain scenes of paradise often depict spiritual plantssuch as pine, bamboo, and Reineckiacarnea along with images of eating and drinking, all of which symbolize auspiciousness and suggest the ideal of immortality. The toad in paintings represents an elixir of immortality, having a reputation for long life. This is closely related to Daoist health culture and its medicinal drinks for longevity. In general, Liu Hai images involve both immortal stories fromDaoism and folk customs. In the supernatural painting style, its spiritual imagination, immortals, auspicious beasts, and spiritual objects signala deeper meaning of the pursuit of immortality.
| Identifer | oai:union.ndltd.org:TW/107NTUA0815003 |
| Date | January 2018 |
| Creators | YANG,CHEN-CHIN, 楊偵琴 |
| Contributors | WANG,YAO-TING, 王耀庭 |
| Source Sets | National Digital Library of Theses and Dissertations in Taiwan |
| Language | zh-TW |
| Detected Language | English |
| Type | 學位論文 ; thesis |
| Format | 214 |
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