明中期吴门文人花鸟画之新变——以花果杂品图为例

Mid Ming Flower and Fruit Painting in Wumen:A New Trend in Literati Bird and Flower Painting

明代中期,吴门地区流行一种较为特殊的花鸟画题材—花果杂品图。这种包含花卉、蔬果、禽鸟、虫鱼等内容繁杂的长卷与册页,与宋元以四君子题材为主流的文人花鸟画相比有了明显变化。本文试图通过花果杂品图与感官相联系的新现象,来探讨此时文人花鸟画在审美观上的变革。本文分为四个部分进行论述:第一部分,通过梳理宋元文人花鸟画的历史,分析文人花鸟画从宋到元在题材上有逐渐扩大的趋势,但主流是象征文人品格的四君子题材,潜流是元代出现的品类较多的墨花墨禽;第二部分,通过吴门文人的作品和诗文,具体分析花果杂品图所绘内容与人的感官—眼、耳、口、鼻的紧密联系;第三部分,通过此时吴中文人闲居的生活方式,分析花果杂品图与感官紧密相关的原因是文人们对自惬之意的追求;第四部分,通过分析花果杂品图传达的新的审美观,阐明文人花鸟画的审美变革—从四君子的"清雅"到花果杂品图的"闲雅"。

During the mid Ming dynasty, a new trend in bird and flower painting emerged in Wumen （Suzhou）. Flowers, vegetables, fruits, birds, insects and fishes were depicted in long handscrolls and albums （here referred to as ＂flower and fruit painting＂）, as a contrast to mainstream literati bird and flower paintings about bamboos, plums, orchids and chrysanthemums that were popular since the Song and Yuan dynasties. In the example of flower and fruit painting, the current author discusses the change in literati aesthetics in four parts. In the beginning, the history of Song and Yuan literati bird and flower painting is reviewed. In the second part, relations between flower and bird painting and senses of seeing, hearing, tasting and smelling are analyzed through paintings and poems. The third part focuses on the leisure life of the literati living in Wumen. In the last part, the author points out the transformation of aesthetics in literati bird and flower painting.