从《竹院品古图》看晚明雅文化  

Mapping the Elegance Culture of the Late Ming Dynasty from the"Bamboo Courtyard Pin Gu"

作　　者：王之言 刘庆和(指导)[2,3] Wang Zhiyan

机构地区：[1]中央美术学院 [2]中央美术学院中国画学院 [3]中国美协中国画艺委会

出　　处：《服装设计师》2022年第7期36-42,共7页Fashion China

摘　　要：明代经济的繁荣促使社会思想发生转变,明代中后期,经商作为谋生手段已经不再为文人和上层阶级所不齿。文人兼任商人,或文人兼任职业画家的行为大量出现,文人雅集题材中的世俗化和商业气息逐渐变得浓郁。在这种对世俗享乐的追求中,宋代雅文化却再次流行,并且在晚明出现了独特的雅俗融合之象。仇英的《竹院品古图》既直观地反映了这种独特的文化现象。The economic prosperity of the Ming dynasty led to a change in social thinking,and in the middle and late Ming dynasty,business as a means of livelihood was no longer frowned upon by the literati and the upper classes.There were a large number of literati who also worked as merchants,or literati who also worked as professional painters,and the secular and commercial atmosphere in the subjects of the literati’s elegant collections gradually became strong.In the midst of this pursuit of worldly pleasures,Song dynasty elegant culture became popular again,and a unique fusion of elegance and vulgarity emerged in the late Ming.Qiu Ying’s"Bamboo Courtyard Pin Gu"visually reflects this unique cultural phenomenon.

关 键 词：晚明 雅俗文化 肖像画 艺术市场 

分 类 号：I20[文学—中国文学]