“仇英戏作”的矛盾与其二重诠释

The Contradictions and Double Interpretations in“QIU Ying's Xi-zuo”( Impromptu Painting)

本文由职业画家仇英在《桐荫结夏》图中题写"戏作"这一潜含矛盾的个案,由画家的身份、画作的形式两条线索深入研究了仇英之所以有"戏作"姿态的实际原因。在一定程度上揭示了中国古代文人画家和职业画家之间模糊而又不可逾越的身份界限,由此造成的绘画样态、画评与画家身份的关系等现象背后的复杂原因。

This paper discusses why QIU Ying poses an attitude of Xi - zuo （ impromptu painting） from the artist＇ s iden- tity and style with a case study of his painting Tong -yin -jie -xia （ Under the Chinese Parasol Tree Shade in Summer） and reveals the ambiguous and insurmountable identity barrier between scholar - painter and professional painter to some extent attributes to the complexity behind these phenomena, such as, different painting styles, criticism and painter＇ s i-dentity etc.