倪瓒的艺术赞助及明代收藏研究  

Study on Ni Zan’s Art Sponsorship and Collection Activities in the Ming Dynasty

作　　者：周娅婷 Zhou Yating

机构地区：[1]武汉纺织大学艺术与设计学院

出　　处：《美术》2022年第5期107-113,共7页Art Magazine

摘　　要：倪瓒是董其昌山水画南宗体系中非常重要的一位画家,受到清代四王的顶礼膜拜。在元代和明代,倪画被世人奉为至宝,江东之家以有无倪画辨清浊。学界对于倪瓒的研究,大多侧重于绘画、书法、诗文、美学等方面,而从艺术赞助及收藏的角度来对倪瓒进行研究尚嫌不足。本文认为,倪瓒1352年以后的很多绘画作品是基于互惠行为的创作,属于一种广义的艺术赞助行为,他的绘画创作、成就及影响和艺术赞助与收藏紧密相关,其中的艺术赞助方式主要是官僚政客赞助和社会资本赞助。As a very important painter in Dong Qichang’s Southern School of landscape painting,Ni Zan is worshipped by four famous painters in the early Qing Dynasty led by Wang Shimin.In the Yuan Dynasty and the Ming Dynasty,Ni Zan’s painting was regarded as a treasure by the public.People living east Yangtze River were called elegant if they had his paintings in their homes,and vulgar if they didn’t.Most of the academic studies on Ni Zan’s work focus on his painting,calligraphy,poetry,aesthetics,and other aspects,but there are few studies on Ni Zan’s work from the perspective of art sponsorship and collection.The author argues that many of Ni Zan’s paintings after 1352 are based on the principle of reciprocity,which belongs to a broad sense of art patronage;His painting creation,achievement and influence are closely related to art sponsorship and collection,which are mainly sponsored by bureaucrats,politicians and social capital.

关 键 词：倪瓒 艺术赞助 明代收藏 

分 类 号：J209[艺术—美术]