论董其昌对明中后期青绿画风的批评与转化  

On Dong Qichang's Criticism and Conversion of the Green Style in the Mid-to-late Stage of Ming Dynasty

作　　者：黄文祥[1] HUANG Wen-xiang(College of Fine Arts, Guangxi Normal University, Guilin 541006,China)

机构地区：[1]广西师范大学美术学院,广西桂林541006

出　　处：《广西师范大学学报（哲学社会科学版）》2016年第5期126-130,共5页Journal of Guangxi Normal University(Philosophy and Social Sciences Edition)

基　　金：2016年广西壮族自治区中青年教师基础能力提升项目"明代青绿山水审美研究"(KY2016YB048)

摘　　要：明中后期以文徵明主盟画坛,影响极大,并形成以文人画与院体画兼容而趋于市俗审美的青绿画风。晚明书画家董其昌对青绿审美的追求、对近院体"工细"而乏"士气"之青绿画风的批评与转化具有积极意义。董其昌青绿画风转化的原因,或可能与其时"画为求售"的作风受到文人严厉的抨击而提出相应的革新思想有关。董其昌以传统文人画"卫道士"的身份掀起了守护传统文人画本体价值观念的浪潮,然而其青绿山水画风也在"自娱娱人"的情境中,融入了与世俗审美品味相协和的体系建构中,而这种结果与董其昌自身各种文人画的言论有些相悖。In the mid--to--late age of the Ming Dynasty, it is Wen Zhengming that hosted the assembly meetings of the painting circle, which produced great effects and formed a green style which was inclined to the worldly aesthetics and in which the imperial court decorative painting and the literati paintings are compatible with one another. It is meaningful that Dong Qichang, a calligrapher and painter in the late Ming Dynasty, pursued green aesthetics, and criticized and converted the green style that was neat and exquisite but lacked the manner of scholar--bureaucrats in ancient China. The reason for this conversion might be his innovation thoughts related to literati＇s severe criticism of the trend of ＂painting for sale＂. As a guard of the traditional literati paintings, Dong set off a movement to protect the ontological values of the traditional literati paintings. However, his green painting Style, in his situation of ＂entertaining self and others＂, blended into the construction of system which was coordinated with the worldly aesthetics. This to some extent violated his views on the literati paintings.

关 键 词：董其昌 青绿画风 批评 转化 

分 类 号：J209[艺术—美术] J120.9