“戾家”与“行家”观念演进之考述.docVIP

“戾家”与“行家”观念演进之考述 　　关键词：元代文人画；戾家；行家；绘画艺术；戏剧艺术；艺术观念 　　摘要：“戾家画”作为元代文人画的代名词，与技艺精熟的专门职业的“行家画”截然相对，这对对立范畴在元初已经形成。明代则从形式风格和气韵方面探讨文人画，由此衍生出“士气”与“作家”、“利家”或“隶家”与“行家”以及“逸家”与“作家”等相关提法。从其称呼变化及观念演进中，可以发现由元而明文人画发展之轨迹。但在明代艺术观念中，戏剧领域的“戾家”与“行家”观念之别不仅正好与绘画领域之意味相反，且与贬抑“行家”、推重“戾家”的绘画艺术观念也正好相反。这种观念之别源于绘画与戏剧艺术不同的风格好尚、不同的艺术性质和功用，也与文人追求自我和表现个性的审美观念和心理有关，彰显了艺术家向往自由、表现自我的时代个性。 　　中图分类号：J01 　　文献标志码：A文章编号：1009-4474（2015）03-0074-09 　　Key words： literati paintings in Yuan Dynasty； Li Jia； Hang Jia； painting； drama； artistic idea 　　Abstract： The name of “Li Jia” was synonymous to literati paintings in Yuan Dynasty in contrast with the “Hang Jia Paintings” composed by skillful professional painters. The opposition between the two was formulated in the early Yuan Dynasty. Literati in Ming dynasty discussed the literati paintings from the perspectives of form， style and artistic conception， which gave birth to the proposals of “Shi Qi” and “Zuo Jia”， “Lia Jia” or “Li JIa” and “Hang Jia” and “Yi Jia” and other related ones. From the changes in the appellations of Li and Hang and the evolution of their ideas， the trajectory of the development of literati paintings from Yuan to Ming can be found. However， the difference of artistic concepts of Li and Hang in drama is the reverse of those for the paintings in Ming Dynasty. The conceptual difference is mainly due to different styles， artistic natures and functions of paintings and dramas， and is also related to the literatis aesthetics and psychology in their pursuit of self and expression of personalities. This concept highlights the era of personality of the literati artists yearning for freedom and individuality. 　　现代艺术学理论认为，艺术创作中，创作主体既是创造心理的承载者、运用者，又是艺术创造过程的推动者、运作者和完成者；艺术创作主体的艺术创造个性显现并渗透在艺术创作活动及其产品（作品）之中。因而，了解艺术创作主体对艺术创作来说至关重要。从中国艺术批评史来看，虽然自元代以来，受众开始更多地进入艺术批评的视野，但较之于受众，中国传统艺术观念总是以艺术家创作主体为核心，紧紧围绕或关涉艺术创作主体展开讨论和批评的。 　　艺术观念通常被理解为人们对于艺术的一些基本看法，它包含人们对艺术的本性与特征、艺术功用、艺术创作以及艺术精神等方面的看法和理解，是人们的世界观在其艺术观上的反映〔1〕。艺术观念是一定艺术现象、艺术活动的基本体现，并集中反映一定时代的艺术精神。因而，艺术观念的研