中国画论中的雅俗观研究

【作者】 张曼华；

【导师】 周积寅；

【作者基本信息】 南京艺术学院 ， 美术学， 2005， 博士

【摘要】 “雅”和“俗”是中国传统美学中的一对重要审美范畴,它们既对立又统一,并且在不同的文化背景中,其含义也复杂多变。在中国传统文化艺术中,“雅”一直占据着主导地位,“俗”则一直被视为否定性的东西,尚雅贬俗一直是传统文人思想中根深蒂固的审美观念。中国画论中的雅俗观的嬗变经历了一个漫长的历程,本文抓住雅俗二者关系流动多变的特性,论述了雅俗合流是艺术审美趣尚发展的必然。十八世纪,扬州八怪开始突破传统绘画思想中的雅俗观,其后海上画派绘画的世俗化、个性化的程度进一步加深,雅俗共赏成为雅俗融合后新的艺术鉴赏标准,然而,关于雅俗观的研究似乎不能就此划上句号,新的历史时期,我们又面临着新的问题——雅俗共赏如何成为切实可行的推动艺术发展的重要标准。更多还原

【Abstract】 Elegance and popularity are a couple of momentous aesthetic category in Chinese traditional aesthetics, they are both opposite and united and, moreover varies with different cultural background. In Chinese traditional culture and art, elegance is a dominant factor, nevertheless, popularity is a negative one. The custom of appreciating elegance and belittling popularity was rooted deeply into the thought of the traditional literati all along. The evolution of the concept on elegance and popularity in the theory of Chinese painting underwent a long history, in this dissertation, the author discusses the relations between these two factors, and points out that mixing elegance and popularity together in the development of aesthetic tastes is inevitable. In 18th century, Yangzhou Eccentries began to break through the concept on elegance and popularity in traditional paintings. Afterwards the Shanghai school’s painting took further steps to the degree of popularization and individualization. Suiting both refined and popular tastes had become a new artistic appreciate criterion after the two factors merged. However, the study of the concept on elegance and popularity can not come to an end yet. What a new problem nowadays we are confronted with is how suiting both refined and popular tastes will become a mementous criterion that can realistically promote the development of art.更多还原