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明清时期中国绘画史上画派林立,但学界对于“江西画派”论述却不多。“江西画派”在明清易代之际的出现是多方面的综合性表现,因为在权力系统下个体的选择并不自由,由于画派成员出身、地缘、师承关系各异,在社会阶层上下流动趋势的作用下,他们寻求到共同的价值取向自然形成艺术聚落关系;考虑到艺术家要受到社会风气、权力意志、个人能力、艺术追求等诸多因素的影响,他们最终的艺术作品是被干预之后的结果;在他们创作的山水、花鸟等形象中有了更多的亲和力和情趣意味,写意抒怀类的作品比重很大,画面境界的营造上透露出艺术家们明确的生活性指向。最终“江西画派”作为子集存在于社会总和中的这个文人群体,通过委婉的艺术创作小心地隐藏了自己的现实身份焦虑,并且通过有意识的结交和诗画结社活动成功塑造了这个略带“距离感”的入世型画派形象。
There are many schools of painting in the history of Chinese painting during the Ming and Qing Dynasties, but there are not many expositions about the “School of Painting in Jiangxi”. The emergence of the “Jiangxi School” during the Ming and Qing Dynasties was a comprehensive performance in many aspects because the individual’s choice was not free under the power system. Due to the different origins, geography, and teacher relations of the school members, Under the influence of the upward and downward mobility of social stratum, they seek common values to form the artistic settlements. Taking into consideration that artists are influenced by many factors such as social ethos, power will, individual ability and artistic pursuit, their ultimate artistic works are The result after being interfered; have more affinities and interesting meanings in the landscapes, birds and flowers they create, the proportion of freehand expressive works is very large, and the creation of the realm of the picture reveals the explicit life direction of the artists. In the end, this literati group, whose “Jiangxi Painting School” exists as a subset in the sum of society, has carefully hidden its own real-life anxiety through euphemistic artistic creation and has succeeded in shaping this through conscious association and poetry and social activities Slightly “distance sense ” image of the accession-type school.