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如何看待并继承古代绘画的传统问题,是晚明时代绘画品鉴与画坛论辩的一个核心命题,并由此形成了以董其昌“南北宗论”为画坛“正脉”的画史观念。在这种文化情态下,陈洪绶按照自己的认知逻辑建立起一套不同于董其昌的绘画史观念系统并身体力行。陈洪绶的独特意义,不仅在于其作为文人画家对经典绘画模式和主流话语的一种背离,也在于其作为失意于“仕进”的下层文人画家在晚明“重道轻艺”和“尊艺”思潮相互对垒的情态下而呈现出来的一个历史“镜像”。晚近中国文艺形态的诸多变迁,或多或少可以在陈洪绶身上找到某些潜在的精神原点。
How to treat and inherit the traditional problems of ancient paintings is one of the core propositions in painting and calligraphy in the late Ming dynasty and in the painting circles, and thus the painting history of Dong Qichang’s “Northern and Southern Sects” Concept. Under this cultural modality, Chen Hongshu established a set of conceptual systems of painting history different from Dong Qichang according to his own cognitive logic and put it into practice. Chen Hongshou’s unique significance lies not only in his departure from the classic painting mode and the mainstream discourse as a literati artist, but also in the late Ming’s “heavy artistry” and “ ”Respect art “ trend of mutual antagonism presented a history of ”mirror ". Recently, many changes in the Chinese literature and art form have found some potential spiritual origin more or less in Chen Hongshu.