扬州八怪绘画思想中的雅俗观

【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， 2002， 硕士

【摘要】 雅和俗是中国传统美学中的一对重要审美范畴，尚雅贬俗一直是传统文人思想中根深蒂固的审美观念。综观绘画发展的历史过程，正是后世对传统思想创造性地继承推动了艺术的发展。在清代中叶扬州繁荣的商品经济时代背景之下，为适应新兴市民阶层的审美喜好，扬州八怪的绘画思想表现出明显的世俗化倾向，发生了雅俗观的潜变。本文采用纵向比较和横向剖析相结合的方法，从八怪时期世俗化背景出发，在对传统雅俗观归纳、总结并作系统阐释的基础上，分析八怪的雅俗思想，说明他们在雅俗观上对前人的继承和发展，并以绘画创作实践印证他们的观点。文章最后论述了在八怪绘画思想的影响下，海派绘画世俗化、个性化的程度大大加深，进一步说明了八怪的雅俗观在绘画史上的重要意义更多还原

【Abstract】 Elegance and popularity is a couple of momentous criteria in Chinese traditional aesthetics. The custom of appreciating elegance and belittling popularity was rooted deeply into the thought of the traditional literati all along. During the historical course of painting development, it is the creative inheritance that propelled the art forward. Under the background of prosperous economy in Yangzhou in the Qing Dynasty, the painting thought of the Yangzhou Eight Eccentrics showed an obvious tendency of popularization in order to meet the need of newly coming citizen and the concept on elegance and popularity had been evolved simultaneously. The thesis adopts a combined method of vertical contrast and horizontal analysis. From the popularization period when the Eight Eccentrics lived in, the thesis analyses their concept on elegance and popularity on the basis of classification, conclusion and systematic interpretation. The thesis also illustrates that the Eight Eccentrics inherited and developed the former concept on elegance and popularization. At the end of the thesis, it dwells on that inspired by the Eight Eccentrics, the Shanghai Painting Denomination stepped into a further degree of popularization and individualization to show the great significance of the concept on elegance and popularity of Yangzhou Eight Eccentrics in the painting history更多还原