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明代宗室作为一个特殊的群体,虽然在政治上受到诸多猜忌与限制,但尊崇的地位和优厚的待遇,仍然为他们从事文化艺术活动创造了良好条件。有明一代,宗室中长于书画者颇多,仅《画史会要》《续书史会要》《历代画史汇传》所载就不下五十位。然而,由于改朝换代等原因,被艺术史遗漏的明宗室书画家也不在少数。广东省博物馆收藏的明朱成鈠《停舟观雁图》,在明代宗室书画中算是创作水平较高的作品。然而,关于朱成鈠其人,艺术史却一无记载,其生平事迹也仅见于《明史》《明实录》等少数典籍。本文通过对朱成鈠生平事迹进行梳理与考证,并对其目前仅见的《停舟观雁图》等两件传世作品进行探讨分析,力图使学术界对这位被艺术史遗漏的明宗室画家有一个初步的了解与认知,进而吸引更多学者对朱成鈠及明宗室艺术家予以关注和研究。
As a special group, the imperial clan in Ming Dynasty received many political suspicions and restrictions, but its respected status and generous treatment still provided good conditions for them to engage in cultural and artistic activities. In the Ming and Qing dynasties, there were a large number of calligraphers in the imperial clan, and no fewer than 50 were included in the book, “History of the Hui Society”, “History of the Continued Confessions”, and “Biography of Historical Paintings in All Dynasties”. However, due to the dynastic changes and other reasons, there are also many Mingzong room calligraphers missed by art history. The Ming Zhu Chengli Collection, a collection of works by the Guangdong Provincial Museum, is a work with a high standard of creation in the calligraphy and paintings of the Ming Dynasty. However, about Zhu Chengtao, there is no record of art history. His life stories are only found in a few ancient books such as “Ming Shi” and “Ming Shi Lu”. Through the analysis of the life story of Zhu Chengtao, this article explores and analyzes the two handed down works of “Stopping the Boat and Watching the Goose” which are only seen at present, trying to make the academia have a Preliminary understanding and cognition, and then attract more scholars to pay attention to and study of Zhu Chengyu and Mingzong room artists.