清代嘉兴画家陶琯的清供图创作及其绘画史意义——以《合作设色花卉册》与《绿蕉山馆纪事册》为中心的考察

Tao Guan's Paintings of Elegant Oblation in Qing Dynasty and Its Significance in Paintings History——A Survey Focusing on Cooperative Painting Album of Colorful Flowers and Painting Album Recording Lvjiao Mountain House

陶琯在与蒋宝龄《合作设色花卉册》中,开启了嘉兴一域雅致秀润的清供画风。然而,当其他嘉兴籍画家将这种画风引向沪上并大变其法以开启海派清供绘画时,陶琯却在《绿蕉山馆纪事册》中将清供元素置于传统文人风雅生活的大背景中,对该种生活作详尽细致的记录。陶琯这种对文人风雅生活的写实性记录成为传统文人生活向近代文人生活过渡的最后一道防线、传统绘画向近代绘画过渡的最后一抹亮色,对传统文人生活及其承载的绘画形式具有挽歌式的祭奠意义。

Tao Guan and Jiang Baoling develops the elegant and gentle style of Jiaxing＇s paintings of elegant oblation in their Cooperative Painting Album of Colorful Flowers . However, when other painters of Jiaxing introduce this painting style to Shanghai and change it to establish the painting style of the elegant oblation characteristic of Shanghai, Tao Guan integrates the elegant oblation elements and the background of the traditional literati＇s artistic life in his Painting Album Recording Lvjiao Mountain House and records their life in detail. His true--life record of the traditional literati life becomes the last defensive line for the traditional literati to change their artistic life into modern life, and the final brilliance of traditional paintings＇ transition into modern paintings, which was like an elegy to the traditional literati life and their paintings.