“艺术赞助人”的生成流变和价值尺度--以柯律格的《雅债》研究为中心

The Formation,Evolution and Value Scale of Art Patron-Centered on Craig Clunas's Study of“Elegant Debts”

20世纪50、60年代艺术社会史兴起,“艺术赞助人”作为艺术史研究结合社会学的方法衍生出来的一种新视角,使人们注意到艺术创作与社会外部环境的关系,介绍了“艺术赞助人”在艺术史中的生成流变以及“艺术赞助人”视角在中国艺术史研究中的运用。柯律格《雅债》一书以文徵明为文化个案,研究文徵明在不同的场域中与他人的社交活动,探究隐藏在“互惠往来”行为背后的“艺术赞助”是如何影响文徵明的艺术创作的。“艺术赞助人”研究模式打破了中国艺术史研究中“画如其人”的固有印象,为中国艺术史研究开启了一个充满新意的视角。

Asthe rise of art social history in the 1950s and 1960s,“art patron”,a new perspective derived from the research of art history with sociological methods,draws people's attention to the relationship between art creation and social external environment.This paper introduces the formation and evolution of“art patron”in art history and the application of this perspective in the study of Chinese art history.Taking Wen Zhengming as a cultural case,Craig Clunas's“Elegant Debts”studies Wen Zhengming's social activities with others in different fields,and explores how the“art patron”hidden behind the“reciprocal exchanges”affects Wen Zhengming's artistic creation.The research model of“art patron”breaks the inherent impression of“paintingsreflect the painter”in the study of Chinese art history,and opens a new perspective for the study of Chinese art history.