[1]吴衍发.晚明书画艺术的情感本性观念考论——以徐渭和董其昌为主要考察对象[J].常州大学学报(社会科学版),2017,18(01):98-104.[doi:10.3969/j.issn.2095-042X.2017.01.013]
　Wu Yanfa.On Emotion Nature of Calligraphy and Painting in the Late Ming Dynasty—Taking Xu Wei and Dong Qichang as Major Objects of Study[J].Journal of Changzhou University(Social Science Edition),2017,18(01):98-104.[doi:10.3969/j.issn.2095-042X.2017.01.013]
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晚明书画艺术的情感本性观念考论——以徐渭和董其昌为主要考察对象()
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常州大学学报(社会科学版)[ISSN:2095-042X/CN:32-1821/C]

卷:
第18卷
期数:
2017年01期
页码:
98-104
栏目:
艺术学研究
出版日期:
2017-01-28

文章信息/Info

Title:
On Emotion Nature of Calligraphy and Painting in the Late Ming Dynasty—Taking Xu Wei and Dong Qichang as Major Objects of Study
作者:
吴衍发
Author(s):
Wu Yanfa
关键词:
情感本性;  书画艺术;  徐渭;  董其昌;  晚明
Keywords:
emotion nature;  art of calligraphy and painting;  Xu Wei;  Dong Qichang;  the late Ming Dynasty
分类号:
J0
DOI:
10.3969/j.issn.2095-042X.2017.01.013
文献标志码:
A
摘要:
晚明人文思潮推动了美术领域主体意识的觉醒和自我意识的标榜,致使以画寄情的文人画相当繁盛,直抒性情的书法异军突起,书画理论成果显著,艺术的情感本性在晚明文人书画中表现得淋漓尽致,出现了徐渭、董其昌等一大批著名的书画家、书画家兼理论家。他们在书画艺术中强调艺术家自然性情的抒发和主体精神的彰显,突出对笔墨情趣的倡导、形式美的追求和诗书画的融合,确立了文人画的主流地位,而文人书画所特具的自娱性和抒情性特征,则进一步彰显了书画艺术的情感本性,影响了晚明以后山水画的发展与演进。
Abstract:
In the late Ming Dynasty, the trend of humanistic thoughts promoted the awakening of subject consciousness and self-consciousness in the art field, which led to the prosperity of the literati painting and calligraphy to express emotions. The theory of painting and calligraphy was remarkable, and the emotion nature of art was expressed the most vividly. There emerges Xu Wei, Dong Qichang and other well-known painters and calligraphers and theorists. They emphasized natural temperaments and subjective spirits, advocated the ink sentiment, pursued formal beauty, and integrated poetry, painting and calligraphy. Therefore, the mainstream position of literati painting was established. The characteristics of self-entertainment and lyricism of the literati’s painting and calligraphy further demonstrated the emotional nature of calligraphy and painting, and affected the development and evolution of landscape painting in later Ming Dynasty.

参考文献/References:

[1]谢肇淛.五杂俎[M].上海:上海书店出版社,2001:135.[2]周积寅,陈世宁.中国古典艺术理论辑注[M].南京:东南大学出版社,2010.[3]董其昌.画禅室随笔[M].屠友祥,校注.南京:江苏教育出版社,2005.[4]袁宏道.徐文长传[M]//袁宏道集笺校:卷十九.钟伯城,笺校.上海:上海古籍出版社,1981:716.[5]徐渭.徐渭集[M].北京:中华书局,1983.[6]黄惇.中国书法全集:第54卷[M].北京:荣宝斋,1992.[7]唐志契.绘事微言[M]//潘运告.明代画论.长沙:湖南美术出版社,2002:259.[8]梁穆敬.序[M]//董其昌.画禅室随笔.北京:中国书店,1983:序1.[9]徐建融.晚明美术史十论[M].上海:上海大学出版社,2009:266.[10]彭修银.中国绘画艺术论[M].太原:山西教育出版社,2001:53.[11]林木.论文人画[M].上海:上海人民美术出版社,1987:6.[12]岳仁.宣和画谱[M].长沙:湖南美术出版社,1999:157.[13]李俊民.锦堂赋诗序[M]//李修生.全元文:卷三.南京:江苏古籍出版社,1998:36.[14]徐建融.晚明美术史十论[M].上海:上海大学出版社,2009:4.

备注/Memo

备注/Memo:
作者简介:吴衍发,艺术学博士,安徽财经大学文学与艺术传媒学院讲师。基金项目:国家社科基金艺术学项目“晚明书画消费与文人生活”(16BA008)。
更新日期/Last Update: 2017-02-10