WANG Wenxin. The Social Functions of Ancient Chinese Painting Inscriptions and the Social Factors in Their Development[J]. International Comparative Literature, 2018, 1(3): 386-399.
Citation: WANG Wenxin. The Social Functions of Ancient Chinese Painting Inscriptions and the Social Factors in Their Development[J]. International Comparative Literature, 2018, 1(3): 386-399.

The Social Functions of Ancient Chinese Painting Inscriptions and the Social Factors in Their Development

  • Received Date: 2017-10-03
  • Rev Recd Date: 2017-11-13
  • Inscriptions written on ancient Chinese paintings are considered as painting's integral part that integrates the image into a poetic unity. This essay questions the validity of these vague discourses and proposes to understand painting inscriptions in a social context. This essay illuminates the following three factors in the development of painting inscriptions in history:social interactions, regional competition, and identity making. This essay argues that the Ming Suzhou elite intensively brought painting inscriptions into their social intercourses to such an extent that inscriptions became a distinctive mark of Suzhou paintings. This is why inscription was the target when Gushihuapu, a painting model book printed in late Ming Hangzhou, criticized Suzhou painters. Behind social interactions and regional competitions was a desire to distinguish elegance from vulgarity and associate the inscriber himself with the side of elegance.
  • loading
  • [1]
    Barnhart, Richard M. Along the Border of Heaven:Sung and Yuan Paintings from the C.C. Wang. New York:The Metropolitan Museum of Art, 1983.
    [2]
    ——. Painters of the Great Ming:The Imperial Court and the Zhe School. Dallas:The Dallas Museum of Art, 1993.
    [3]
    Brown, Claudia. "Some Aspects of Late Yuan Patronage in Suchou." In Artists and Patrons:Some Social and Economic Aspects of Painting. Edited by Chu-tsing Li. Seattle:University of Washington Press, 1989.
    [4]
    Cahill, James. The Painter's Practice:How Artists Lived and Worked in Traditional China. New York:Columbia University Press, 1995.
    [5]
    高居翰:《江岸送别:明代初期与中期绘画》,夏春梅等译,北京:三联书店,2010年。
    [6]
    [Cahill, James. Parting at the Shore:Chinese Painting of the Early and Middle Dynasty, 1368-1580. Translated by XIA Chunmei. Beijing:Sanlian Bookstore, 2010.]
    [7]
    陈正宏:《美术世界中的文学文献-以一件明代诗画合璧卷子为例》,见程章灿主编:《中国古代文学文献学国际学术研讨会论文集》, 南京:江苏古籍出版社,2006年,第435-45页。
    [8]
    [CHEN Zhenghong. "Literary Resources in the World of Art:A Case Study on a Ming Scroll that Incorporates Poetry and Painting." In Proceedings of the International Symposium on Chinese Ancient Literature and Philology. Edited by CHENG Zhangcan. Nanjing:Jiangsu Classic Chinese Press, 2006, 435-45.]
    [9]
    ——:《被大师遮蔽的画家-重读沈周〈石田稿〉稿本札记》,《苏州文博论丛》2012年第3期,第128-135页。
    [10]
    [——. "The Painter in the Shadow of the Great Master:A Note Taken from Reading Shen Zhou's Shitian Manuscript." Suzhou Archaeology and Museum Review 3(2012):128-35.]
    [11]
    (清)陈撰:《玉几山房画外录》,见黄宾虹、邓实主编:《美术丛书》初集第八辑第四册,上海:神州国光社,1947年。
    [12]
    [CHEN Zhuan. Yuji shanfang huawailu. In Meishucongshu, 1st compilation, 8th collection, vol. 4. Edited by HUANG Binhong and DENG Shi. Shanghai:The Divine Continent National Glory Society, 1947.]
    [13]
    柯律格:《明代的图像与视觉》,黄晓鹃译,北京:大学出版社,2011年。
    [14]
    [Clunas, Craig. Pictures and Visuality in Early Modern China. Translated by HUANG Xiaojuan. Beijing:Peking University Press, 2011.]
    [15]
    董双叶:《论晚明视觉文化中的后浙派绘画》,见浙江省博物馆编:《明代浙派绘画国际学术研讨会论文集》,杭州:浙江人民美术出版社,2012年,第53-62页。
    [16]
    [DONG Shuangye. "On the Late Zhe School Painting in the Late Ming Visual Culture." In Proceedings of the International Symposium on the Zhe School Painting of the Ming Dynasty. Edited by Zhejiang Museum. Hangzhou:Zhejiang People's Fine Art Press, 2012, 53-62.]
    [17]
    (清)方薰:《山静居画论》, 见《知不足斋丛书》卷20。
    [18]
    [FANG Xun. Shanjingjuhualun. In Zhibuzuzhaicongshu, vol. 20.]
    [19]
    (明)顾炳编:《顾氏画谱》,见《中国古代版画丛刊》第一编第三册,上海:上海出版社,1988年。
    [20]
    [GU Bing. Mr. Gu's Painting Model Book, in A Series of Ancient Chinese Book Illustrations, first compilation, vol. 3. Shanghai:Shanghai Press, 1988.]
    [21]
    (清)顾复:《平生壮观》,《续修四库全书》第1065册,上海:上海古籍出版社,2002年。
    [22]
    [GU Fu. Pingshengzhuangguan. In Xuxiu sikuquanshu. Vol. 1605. Shanghai:Shanghai Chinese Classics Press, 2002.]
    [23]
    (清)姜绍书:《无声诗史》,见于安澜编:《画史丛书》第3册,上海:上海人民美术出版社,1963年。
    [24]
    [JIANG Shaoshu. Wushengshishi. In Huashicongshu. Edited by YU Anlan, vol. 3. Shanghai:Shanghai People's Fine Art Press, 1963.]
    [25]
    (清)孔衍栻:《画决》,见《美术丛书》初集第3辑第2册。
    [26]
    [KONG Yanshi. Hua jue. In Meishu congshu, 1st compilation, 3rd collection, vol. 2.]
    [27]
    (明)李流芳:《檀园集》,见(清)永瑢、纪昀等编纂:《文渊阁四库全书》第1295册,台北:台湾商务出版社,1986年。
    [28]
    [LI Liufang.Tanyuan ji. In Wenyuangesikuquanshu. Edited by YONG Rong et al. Vol. 1295. Taipei:Taiwan Commercial Press, 1986.]
    [29]
    娄玮:《沈周家族的兴盛与衰落》,台北:石头,2012年。
    [30]
    [LOU Wei. The Uprising and Decay of Shen Zhou's Clan. Taipei:Shi-tou, 2012.]
    [31]
    Murck, Alfreda and FONG Wen eds. Words and Images:Chinese Poetry, Calligraphy, and Painting. New York and Princeton:The Metropolitan Museum of Art and Princeton University Press, 1991.
    [32]
    Murck, Alfreda. "Words in Chinese Painting." In A Companion to Chinese Art. Edited by Martin Powers and Katherine R. Tsiangm Hoboken:Wiley-Blackwell, 2016, 457-73.
    [33]
    Pierre, Bourdieu. Distinction:A Social Critique of the Judgement of Taste. Translated by Richard Nice. New York:Routledge, 1984.
    [34]
    祁晨越:《明代杭州地区的书籍刊印活动》,新加坡国立大学博士学位论文,2010年。
    [35]
    [QI Chenyue. "Printing and Publishing Activities in Ming Hangzhou." PhD diss., National University of Singapore, 2010.]
    [36]
    (清)钱杜:《松壶画忆》,见《美术丛书》第3集第4辑第12册。
    [37]
    [QIAN Du. Songhuhuayi. In Meishucongshu, 3rd compilation, 4th collection, vol. 12.]
    [38]
    单国强:《20世纪对明代浙派的研究》, 《朵云》2004年第64卷,第7-22页。
    [39]
    [SHAN Guoqiang. "A Review of Research Works on the Zhe School of the Ming Dynasty in the Twentieth Century." Correspondences 61(2004):7-22.]
    [40]
    ——:《吴伟〈词林雅集卷〉考析》,《故宫博物院院刊》2009年第4期,第81-94页。
    [41]
    [——. "A Study on Wu Wei's An Elegant Gathering of Talented Scholars." Palace Museum Journal 4(2009):81-94.]
    [42]
    (明)沈颢:《画麈》,见《美术丛书》初集第6辑第3册。
    [43]
    [SHEN Hao. Hua zhu. In Meishucongshu, 1st compilation, 6th collection, vol. 3.]
    [44]
    石守谦:《风格与世变:中国绘画十论》,北京:北京大学出版社,2011年。
    [45]
    [SHI Shouqian. Style and Transformation:Study on the History of Chinese Painting. Beijing:Peking University Press, 2011.]
    [46]
    (清)王概等:《芥子园画传初集》,康熙18年刊本。
    [47]
    [WANG Gai et al. Jieziyuan huazhuan chuji, edition printed in 1679.]
    [48]
    (明)汪珂玉:《珊瑚网》,《适园丛书》1916年版。
    [49]
    [WANG Keyu. Shanhu wang. In Shiyuancongshu, 1916 printed edition.]
    [50]
    吴刚毅:《沈周山水绘画的风格与题材研究》,中央美术学院博士学位论文,2002年。
    [51]
    [WU Gangyi. "A Study on the Style and Theme of Shen Zhou's Landscape Paintings." PhD diss., Central Fine Arts Academy, 2002.]
    [52]
    (清)吴升编著:《大观录》,李氏怡寄轩1920年版。
    [53]
    [WU Sheng. Daguanlu. Lishiyijixuan (Mr. Li's Harmony and Repose Garden) edition printed in 1920.]
    [54]
    (清)徐沁:《明画录》,见《画史丛书》第3册。
    [55]
    [XU Qin. Ming hualu. In Huashicongshu. Vol. 3.]
    [56]
    (明)郁逢庆编著:《书画题跋记》,见《文渊阁四库全书》第816册。
    [57]
    [YU Fengqing. Shuhuatiba ji. In Wenyuangesikuquanshu. Vol. 816.]
    [58]
    Zaixin Hong. "Issues of Provenance in the Last Emperor's Art Collecting." In Provenance:An Alternative History of Art.Edited by Gail Feigenbaum and Inge Jackson Reist. Los Angeles:Getty Research Institute, 2012.
    [59]
    张其凤:《关于中国绘画"诗书画印"一体化进程的考察-兼论宋徽宗对此进程的重要作用(上)》,《艺术百家》2008年第6期,第100-105页。
    [60]
    [ZHANG Qifeng. "On the Integration of ‘Poetry, Calligraphy, Painting and Sigillography’ in Chinese Painting-Also on Song Huizong's Important Function in This Process (Part I)], Hundred Schools in Arts 6(2008):100-5.]
    [61]
    ——:《关于中国绘画"诗书画印"一体化进程的考察-兼论宋徽宗对此进程的重要作用(下)》,《艺术百家》2009年第2期,第56-74页。
    [62]
    [——. "On the Integration of ‘Poetry, Calligraphy, Painting and Sigillography’ in Chinese Painting-Also on Song Huizong's Important Function in This Process (Part Ⅱ)]." Hundred Schools in Arts 2(2009):56-74.]
    [63]
    (清)张照等编著:《石渠宝笈》,见《文渊阁四库全书》第824册。
    [64]
    [ZHANG Zhao. Shiqubaoji. In Wenyuangesikuquanshu. Vol. 824.]
    [65]
    (清)郑绩:《梦幻居画学简明》,1864年序本。
    [66]
    [ZHENG Ji. Menghuanju huaxue jianming. Edition prefaced in 1864.]
    [67]
    (明)朱安撰:《张平山先生传》,见黄宗羲纂:《明文海》卷419,北京:中华书局,1987年。
    [68]
    [ZHU Ankan. "Zhang Pingshanxianshengzhuan." In Ming wenhai, juan 419. Edited by HUANG Zongxi. Beijing:China Book Store, 1987.]
    [69]
    朱燕楠:《由来朝日便倾心-戴进〈葵石蛱蝶图〉探析》,《艺术品》2015年第11期,第80-89卷。
    [70]
    [ZHU Yannan. "A Case Study on Dai Jin's Stone and Butterfly." Art Works 11(2015):80-89.]
  • 加载中

Catalog

    通讯作者: 陈斌, bchen63@163.com
    • 1. 

      沈阳化工大学材料科学与工程学院 沈阳 110142

    1. 本站搜索
    2. 百度学术搜索
    3. 万方数据库搜索
    4. CNKI搜索

    Article Metrics

    Article views (612) PDF downloads(643) Cited by()
    Proportional views
    Related

    /

    DownLoad:  Full-Size Img  PowerPoint
    Return
    Return