《真赏斋图》卷与华夏身份的构建

Paintings of Zhenshang Studio and Identity Construction of Huaxia

本文通过比较文徵明的两幅《真赏斋图》卷,发现嘉靖二十八年的《真赏斋图》卷采用了雅集图的构图方式,是一种程式化构图,而嘉靖三十六年的《真赏斋图》卷更为真实地反映了真赏斋的周边环境。这一差异缘于两幅画作的创作意图不同。嘉靖三十六年的《真赏斋图》卷反映了华夏对于身份塑造的主体诉求的意图更为强烈。作为收藏家,华夏希望以赏鉴者的身份,而不是好事者的身份留存于世。

By comparing two paintings of Zhenshang studio done by Wen Zhengming,this article finds the painting in the year of 1549 applies the composition of elegant gathering,which is also seen in other paintings by Wen Zhengming,but the painting in 1557 more truly depicts the environment of Zhenshang studio.Due to the different motive,the painting in 1557 expresses Huaxia's purpose of identity construction more intense.As a collector,Huaxia wanted to be remembered as a connoisseur,not an amateur.