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晚清时期,商业经济的发展为鬻艺谋生创造了基础条件,但在职业书画家的服务得到社会中新兴阶层欢迎的同时,他们也遭到了恪守传统价值标准的文人群体的批评和攻击。在小说《二十年目睹之怪现状》中,吴沃尧塑造了江雪渔这一形象,对职业书画家自我吹捧及不通文辞的现象进行讽刺,这从侧面说明当时的进步文人对待商业文化仍持极大的保留态度,不仅不认同其手段,而且尤其排斥其对传统价值观造成的影响,小说中吴氏对任伯年、任立凡、胡公寿等知名画家的点名攻击更是这一态度的集中体现。而另一方面,在书画艺术的发展方向逐步脱离文人阶层控制的同时,一部分犹豫于鬻艺和求学之间的艺人则遭到文人最为严厉的斥责,吴氏在小说中塑造的张超这一形象即是这一部分艺人的代表,这种态度可能使更多的底层文化人加入到鬻艺队伍中,从而对书画市场的发展产生深远的影响。
During the late Qing period, the development of the commercial economy created the basic conditions for gaining living and living skills. However, while the service of professional calligraphists and painters was welcomed by the emerging classes in society, they were also criticized and attacked by the literati groups who abide by the traditional values. In the novel “The Strange Situation Twenty Years”, Wu Woyao shaped the image of Jiang Xueyu, and satirized the phenomenon that professional calligraphers touted selflessly and failed to read the essay. This shows from the side that the progressive literary man was still treating business culture The great reservations not only do not agree with the means but also exclude their influence on the traditional values. Wu’s naming attack on Ren Bainian, Ren Lifan, Hu Gongshou and other famous painters in the novel is even more a manifestation of this attitude . On the other hand, while the direction of the development of calligraphy and painting gradually departed from the control of the literati, some of the artists who hesitated between entertainments and study were most severely reprimanded by the writers. Image is the representative of this part of the artist, this attitude may make more people at the bottom of the culture to join the art team, which has a profound impact on the development of the painting market.