僧坊之外:“雪窗兰”的士林流布及画史意义

ON The Spreading Situation Among Scholars And the Significance In Chinese Painting History of Xue Chuang’s Orchid Painting

释普明所作之"雪窗兰",并非止可施之僧坊,而是广泛流布于公堂邸宅、书斋雅舍间,多元参与官员商贾、文士儒生的精神文化生活,发挥着作为士林清玩的审美功用。就绘画史观之,"雪窗兰"具有承启意义,其在"吴兴二赵"、郑思肖等的基础上,拓展了兰图的图式结构与表现内容,丰富其审美蕴涵,影响着文人的价值判断,从而形成一种新的墨兰范式,并为明清画家所取法。

Since the beginning of the yuan and Ming dynasties,the Orchid Painting of Xue Chuang has stepped out of the temple and played the multiple roles of collecting and appreciating objects and appraising objects in elegant collections and exchanging media with friends in the palace and garden and study. It is widely involved in the spiritual and cultural life of officials and scholars and artists and citizens and other different classes. When people appreciate pictures, they are not only impressed by the vivid image performance and outstanding artistic achievements, but also by their complex emotional experience, which is filled with sadness of loss of aspiration and ambition of self-preservation and feelings of cherishing people and feelings of vicissitudes. In this process, the Orchid Painting of Xue Chuang has gone beyond the intuitive perception of objective images, widely participated in people’s emotional experience and rational cognition, giving full play to the aesthetic function of the thing as the object of the literati and artists chanting sentiment. The realization of this function also indicates that the Orchid Painting of Xue Chuang expands the material of composition and the content of expression, enriches its metaphorical implication, thus expands its audience and forms a new art paradigm.