恽寿平山水画美学分期及其在扬州地区的传播问题

The Aesthetic Periodization of Yun Shouping’s Landscape Paintings and Its Dissemination Issues in the Yangzhou Region

在中国绘画史上被誉为“清初六大家”之一的恽寿平的“没骨花”在清代画坛上具有重要的地位与深远的影响,但他在“没骨花”广为社会认可的同时,始终没有放弃山水画的创作,并在其诗文与《南田画跋》中留下了大量关于山水画论述的内容。通过分析恽寿平山水画的笔墨特点与风格成因,可以将其发展分成三个阶段,并归纳总结出其各自的美学风格特征,同时厘清对恽寿平山水画的一些固有观点,并在此基础之上分析阐述其款识书法的分期,发现其画作在扬州地区传播遇冷的待解问题。

Yun Shouping,known as one of the“Six Masters of Early Qing Dynasty”in the history of Chinese painting,held an important position and had a profound influence in the art world of the Qing Dynasty.However,while“Boneless Flower”was widely recognized by society,he never gave up on the creation of landscape painting and left a lot of content about landscape in his poetry and“Nantian Painting Postscript”.By analyzing the brush and ink characteristics and stylistic causes of Yun Shouping’s landscape paintings,their development can be divided into three stages,and their respective aesthetic styles and features can be summarized.At the same time,some inherent views on Yun Shouping’s landscape paintings can be clarified,and based on this,the periodization of his calligraphy style can be analyzed and explained.It is found that the dissemination of his paintings in the Yangzhou region is facing unresolved issues.