世界像一張畫―唐五代“如畫”的觀念系譜與世界圖景

From the perspectives of visual culture, the present dissertation, working side by side with the antique paintings, extensively studies a whole series of terms in paintings during Tang and the Five Dynasties by analyzing and tracing down the cultural background of their being. The terms are picturesque (Ju-Hua), screen painting (Hua-Ping), a pictorial warld (Hua-Chu), seeming going into a painting (Ju-Hua), more of a picture(Hua-bu-Ju, Hua-bu-Chen), not matching reality (Hua-Nan-Jen). This set of concepts started flourishing in mid-Tang and are related to the beginning of scholastic paintings and the revolution of water-brush. Intertwining complex fields such as aesthetics, erudition, society, power, and individuation, these concepts formed the most important aesthetic ideology after Tang and Sung Dynasties. With involvement of landscaping, gardening, painting of animals, plants, ladies, and figures, mapping, and categorizing collections, this study manifests the assistance of art, its representation, and the traces of lusts, language, and power and finally concludes with the appearance of some kind of meta-painting-painting inside a painting-directing the coming of a mimesis world. It is not only building from the reality but also deconstructing itself-providing a new way of thinking for fields in history of arts and history of cultures.