“十日一水、五日一石”:晚明文人绘画创作的时间焦虑及言说  

“Ten Days to Paint Water,Five Days to Paint a Stone”:Time Anxiety and the Exposition of Time in the Late Ming Literati Paintings

作　　者：王丁 Wang Ding(the Editorial Department of Arts Criticism,Chinese National Academy of Arts,Beijing 100012,China)

机构地区：[1]中国艺术研究院 [2]《艺术评论》编辑部,100012

出　　处：《文艺理论研究》2022年第6期203-210,共8页Theoretical Studies in Literature and Art

摘　　要：“十日一水、五日一石”语出杜诗,是历代用来描述创作时间的重要语汇。该如何理解绘画创作的时长和速度?有别于前代论者多从才性、灵感或学习法度等角度阐发,晚明时期文士更强调此一语汇在杜诗中即有的应酬语境,对创作场景中的索画者角色予以揭示和突出。这种应酬视角和对杜诗的反复引述透露了晚明文士在频繁绘画应酬(甚至交易)中的时间焦虑,“十日一水、五日一石”作为表述策略也参与到了他们的自我言说中。从艺术社会史的视角来看,在应酬语境中,画家的创作不再单纯地源于灵感、才华,而更可能是源于索画者的请求甚至要求。创作时间便成为二者资本及权力博弈的关键之一,象征着身份与话语权。对于时间问题的言说,展现了晚明文人绘画特殊的社会史面向。“Ten days to paint water;five days to paint a stone”,an expression by Tang-dynasty poet Du Fu is often used to describe the length of time in creation.Unlike commentators of previous generations whose interpretations mostly expatiated from the perspectives of originality,inspiration or the artistic conventions,the late Ming literati placed more emphasis on the original context of socialization in Du Fu’s poem.Such a perspective in the repeated citations of this poem implied an time anxiety in the late Ming literati in their socializing through painting as well as perhaps trading paintings.This poem had also become a strategy which went into the exposition of the anxiety.From the perspective of social history of art,in the context of socialization,artworks might not be created to respond to the call of inspiration and the show of originality,but return the request or even demand from bidders.Time needed for the artwork might become a key element in the capital exchange and the power play.The exposition of time points to a special focus of social history in the late Ming literati painting.

关 键 词：十日一水五日一石 时间 晚明绘画 艺术社会史 

分 类 号：J212[艺术—美术] K248.3[历史地理—历史学]