“衰落”的浙、吴后期绘画与晚明江南画坛  

The"Decline"of Late Zhe and Wu School Artists and the Reconstruction of the Late Ming Jiangnan Painting Scene

作　　者：肖洁 Xiao Jie

机构地区：[1]东南大学艺术学院,江苏南京211100

出　　处：《艺术探索》2024年第6期30-37,共8页Arts Exploration

基　　金：2024年度江苏省高校哲学社会科学研究重大项目“中国古代艺术类古籍批注整理与研究”(2024SJZD099)。

摘　　要：晚明初期,精英文人逐渐掌握审美风格的诠释权,符合他们审美趣味的吴派(前中期)和松江派山水画几乎成为晚明至清代的主流。大部分研究者以这些作品为切入点,自然而然地得出浙派与吴派后期绘画衰落的结论。然而,在松江派崛起的16世纪,浙派与吴派后期绘画不仅在艺术风格上有陈淳、徐渭等画家承继,而且在艺术市场上仍占据重要位置。这一持续繁荣的局面引起董其昌等精英文人的嫉妒,他们在黄公望山水观念的影响下,以“甜邪俗赖”“吴门习气”等词语抨击浙派与吴派后期画家,公开否定两派风格中的浙派成分。最终,在这些精英文人的抨击下,浙派与吴派后期绘画被贴上“衰落”的标签。In the early Ming dynasty,elite literati gradually gained control of the interpretation of aesthetic styles,and landscape paintings from the early and middle periods of the Wu School and the Songjiang School,which aligned with their tastes,became the dominant trend from the late Ming to the Qing dynasties.Many researchers,focusing on the works of these two schools,have naturally concluded that the Zhe School and the late Wu School were in decline.However,when shifting the perspective to artistic style and the art market,it becomes clear that during the sixteenth century,when the Songjiang School rose to prominence,the Zhe School and the late Wu School continued to flourish.Painters like Chen Chun and Xu Wei not only carried on their stylistic legacy,but their schools also maintained a significant presence in the art market.This continuous prosperity aroused the jealousy of elite literati like Dong Qichang,who,influenced by Huang Gongwang's landscape concepts,criticised the later painters of the Zhejiang and Wu Schools,labelling their work as“overly sweet and vulgar”and as"typical bad habits fostered by the Wu School",and openly denied the Zhejiang elements in the styles of the two schools.Ultimately,and due to the attacks of these elite literati,the later paintings of the Zhejiang and Wu schools ended being labeled as“declining”.

关 键 词：浙派后期 吴派后期 董其昌 晚明江南画坛 

分 类 号：J212[艺术—美术] K248.3[历史地理—历史学]