晚明绘画的怪诞、张狂及其成因  

The Grotesque,Arrogance of Paintings in the Late Ming Dynasty and Its Causes

作　　者：朱建伟[1] 孙会强 ZHU Jian-wei;SUN Hui-qiang(School of Luxun Arts,Yan’an University,Yan’an 716000,Shaanxi)

机构地区：[1]延安大学鲁迅艺术学院,陕西延安716000

出　　处：《延安大学学报（社会科学版）》2022年第4期88-92,共5页Journal of Yan'an University (Social Sciences Edition)

基　　金：陕西省哲学与社会科学重大理论与现实问题研究项目“延安时期美术创作红色基因传承研究”(2022ND0319);陕西省社会科学基金项目“新时代以人民为中心创作导向的理论与实践研究”(2018K19)。

摘　　要：晚明的绘画与传统绘画的样式、审美、风格都有着极大的差异,呈现出绘画形象的怪诞、艺术语言与风格的张狂,演绎着绘画创作别样的美。陈洪绶、崔子忠、吴彬和徐渭等名家绘画,无一不是这种怪诞与张狂的体现。究其原因,这种艺术风格与晚明的社会思潮不无关系。晚明形成的倡导解放个性、崇尚狂狷、强调自我、表现内心的社会思潮,直接促使晚明绘画形成了怪诞、张狂的艺术风格。这种怪诞与张狂随着时代的发展逐渐退却,成为晚明绘画艺术的典型特征,也成为中国美术史上浓墨重彩的一笔。There are great differences in style,aesthetics and style between the paintings of the late Ming Dynasty and the traditional painting,showing the grotesque image of the painting,the arrogance of artistic language and style,and deducing the different beauty of painting creation.Chen Hongshou,Cui Zizhong,Wu Bin and Xu Wei′s famous paintings are all the embodiment of this grotesque and arrogance.The reason is that this artistic style has something to do with the social trend of thought in the late Ming Dynasty.In the late Ming Dynasty,the social trend of thought of emancipating personality,advocating madness,emphasizing self and expressing heart,directly contributed to the formation of the grotesque and arrogant artistic style in the late Ming paintings.This kind of grotesque and arrogance gradually retreated with the development of the times,which became a typical feature of painting art in the late Ming Dynasty and a heavy color in the history of Chinese art.

关 键 词：晚明 绘画 怪诞 张狂 

分 类 号：J209[艺术—美术]