明末清初绘画之“逸”探微  

The Study of Aesthetic Concept“Yi”during the Late Ming and Early Qing Dynasty

作　　者：孙壹琴 罗筠筠[1] SUN Yi-qin;LUO Yun-yun(Department of Philosophy,Sun Yat-sen University,Guangzhou 510275,China)

机构地区：[1]中山大学哲学系,广东广州510275

出　　处：《华南农业大学学报（社会科学版）》2022年第6期135-138,共4页Journal of South China Agricultural University(Social Science Edition)

基　　金：2020年国家社科基金后期资助项目(20FZWB022);广东省教育厅2018年创新特色项目(2018WTSCX023)。

摘　　要：明中后期,画坛对“逸”的阐释,逐渐呈现出百花齐放的局面。以《画禅室随笔》、《绘事微言》与《南田画跋》为基础,从“逸气”、“逸品”与“逸笔”三个层面,阐析明末清初绘画之“逸”的内涵与特征。明末清初时期,画理之“逸”重在意会,因而难以言明,各家画理皆在不同程度上强调了“逸”所包含的“脱离”之本意,以及隐于山水林泉间的风尚与情怀。超凡脱俗的意境与隐逸的精神仍是绘画之“逸”的必备特点。在此理论基础之上,明末清初的遗民画家通过绘事实践,逐渐将不拘于常规的、个性化的表现风格纳入“逸”高绝脱俗的审美范畴之中,由此推动了“逸”逐步放纵化的表现趋势。The aesthetic concept“Yi”occupies an important position in the history of Chinese art.The concept“Yi”is closely associated with the free spirit from the ancient literati and intellectuals.Based on the analysis of the art theories of several well-known literati,this article aims to study how the literati understand the aesthetic concept“Yi”during the late Ming and early Qing dynasty from three perspectives:yipin,yibi,and yiqi.Additionally,the concept“Yi”does not have the same meaning in different dynasties.During the late Ming and early Qing dynasty,due to the development of art theory and the highly personalized art style,different literati developed different understandings towards the concept“Yi”and the feeling of seclusion.Extraordinary refinedartistic conception and hermit spirit areessential features of“YI”.Meanwhile,paintings integrated intothe art theory about the aesthetic concept“Yi”out of the box with individuationaesthetic category.The art theory about the concept“Yi”becomes more popular and complicated at this time.

关 键 词：隐逸 随性 文人 脱俗 

分 类 号：J201[艺术—美术]