清代绘画的世俗化倾向  

Secularization of Painting in Qing Dynasty

作　　者：傅昊[1] 

机构地区：[1]洛阳师范学院美术学院,河南洛阳471022

出　　处：《洛阳师范学院学报》2015年第3期133-135,共3页Journal of Luoyang Normal University

摘　　要：清代绘画的世俗化倾向是传统文人画余绪的终结和中国画现代形态的肇始。从吴门画派到扬州画派再到海上画派,是中国画世俗化递进的三个重要阶段。从绘画本体上分析清代绘画世俗化的两个代表性画派——扬州画派和海上画派,我们可以从绘画的题材、色彩、形式等方面看到他们同文人画传统之间产生的变化、拉开的距离和世俗化严谨的清晰脉络。清代绘画的世俗化过程是社会形态从"农"到"工"的转型,是艺术家从"士"到"商"的转型,是文人画职业化的过程。secularization of paintings of Qing Dynasty is the termination of traditional literati painting, and be-ginning of the modern form of Chinese painting.From the Wumen school to Yangzhou school, then to Shanghai school, is the three important progressing stages of Chinese painting.Analysis of the two representatives of seculari-zation paintings of Yangzhou and Shanghai schools of Qing Dynasty, we can see changes and differences in theme, color, form, etc.between the traditional literati school and secular school.The process of secularization of Qing Dynasty is the change of social form from agricultural to industy, is the change from scholar to businessman of the artists, is a process professionalization of literati school.

关 键 词：清代绘画 世俗化 商品化 

分 类 号：J209.2[艺术—美术]