宋代书画消费与社会分层——以文化社会学为分析视角  

The Consumption of Paintings and Calligraphy as well as Social Stratification in a Perspective of Cultural Sociology

作　　者：秦开凤[1] 

机构地区：[1]陕西省社会科学院人文杂志社

出　　处：《学术研究》2015年第5期55-62,159,共8页Academic Research

基　　金：国家社科基金项目"宋代文化消费研究"(10XJL0002)的阶段性成果

摘　　要：宋代商品经济的繁荣和社会阶层间的流动已经具有近代性,消费分层的意义在宋时已有所体现,这在书画消费领域表现得尤为明显。官僚士大夫阶层是法书名画的消费主体,更将之作为标榜身份的象征;新崛起的富民阶层也以书画作为重要精神类奢侈品,以提高社会声望和得到上层社会的认可;平民阶层的书画消费多以通俗类为主,不过其中的小工商业者对书画艺术品的追捧也蔚然成风。由此可见,书画消费不再单纯是精神文化类消费,而已成为宋人社会身份建构的重要手段。宋代流行的文人画与通俗画既是对书画类型的区别,也是对不同社会阶层的隐喻。同时,书画消费又使这种区分突破了静态化、单向度的局限,而更有了互构性和开放性。它一方面体现了消费者个人的社会地位,一方面也在重构着消费者个人的社会身份,尤其是富民阶层和小工商阶层的附庸风雅,有利于突破宋代固有的阶层制度,促使宋代社会的进一步流动与开放。The prosperity of Commodity economy and the mobility of social classes in the Song dynasty had modernity features. Consumption stratification concept was reflected especially in Painting calligraphy field. Bureaucratic literati is the main consumers of famous calligraphy paintings as a status symbol. The emerging rich class regarded the paintings as an important goods of spiritual luxury, which might raise their social prestige and class.Besides, most civilians populate a class-base consumption, and small businessmen also sought after fine paintings rampantly. Popular literati paintings and civilian calligraphies formed a distinction basically and a metaphor of different social classes. Especially the arty of rich class and small merchants helped breaking the inherent hierarchical system of the Song dynasty and prompting the further flow of the excellent ones.

关 键 词：宋代 书画消费 社会分层 阶层流动 

分 类 号：C913.3[经济管理]