文徵明后期青绿山水的院体类型画风及其原因  

The Academic Styles and Reasons of Wen Zhengming's Landscape Paintings in His Late Period

作　　者：黄文祥[1] 

机构地区：[1]广西师范大学美术学院,广西桂林541006

出　　处：《艺术探索》2017年第6期39-46,共8页Arts Exploration

摘　　要：文徵明前中期阶段的青绿山水以"精工秀雅"作风为主调,但文氏后期倾心院体的重青绿画风,尤其醉心"二赵"的浓丽画风,故其后期所作青绿山水于"作家士气咸备"的观念驱使下,呈现出鲜明的院体类型画风。而个人特点却未能鲜明凸显,原因有三:其一,文氏虽有"借古以开今"的想法去革新青绿山水,却未能越出传统文本藩篱;其二,以文氏在吴中的声望,有机会看到很多传世青绿作品,而其亦必借鉴定古画之机,对经典作品大加追摹;其三,明中期商品经济崛起促使商人求购书画,与其时"尚古"之风及审美趋于重青绿设色的关系很大。In the middle and early period of Wen Zhengming＇ works, ＂fine art＂ was the main theme of his landscape works, which has agreed commonly by the academia. But in his late period, Wen tended to follow academic painting style of heavy green style, especially obsessed with the ＂two Zhao＂ of their rich and beautiful styles, therefore, the landscape in the period was driven by the ＂writer morale＂ concept that showed a distinctive academic painting style, but the personal characteristics are not clearly highlighted, and three reasons are： First, Wen has the painting idea ＂use the past to broaden the present＂ to reform the landscape, but failed to open the traditional text barriers. Second, for Wen＇s reputation in Wu, he has many opportunities to see a lot of handed down landscape works, and he must be imitated the ancient paintings when he was identifying them. Third： the rise of the commodity economy painting and writing work by the merchants, and it was likely style and aesthetic tend to landscape. in the middle of Ming dynasty was resulted in the pursuit of at the time when people prevailed ＂admire the ancient works＂

关 键 词：青绿山水 院体 类型画风 原因 

分 类 号：J212[艺术—美术]