十八世纪杭州地区的画家方薰及其作品——以故宫博物院藏品为中心

18世纪末至19世纪中期,嘉兴府艺术家辈出,有史家甚至称之为所谓"嘉兴画派",认为它对后来的海派起到了重要影响。方薰并非这一派中的杰出艺术家,但他却生活在一个承上启下的时期,他的艺术承接了17、18世纪正统工细的艺术风格,同时也是19世纪后半叶上海艺术形式创新的前奏,从这个角度看,北京故宫所保存的5幅方薰的画作具有很大的价值。本文通过深入研究方薰生平并结合其作品,认为浙北知识精英阶层的生活品位与艺术需求同画家的创作有着密切的互动关系。对方薰个案的研究,可以使我们在某种程度上找到认知18世纪苏杭文人圈的捷径。此外,作者还指出,每个艺术中心都拥有它相对独特的文化,我们不应以偏概全地认为乾隆朝的宫廷以及扬州一带是18世纪所有中国画的原产地。

The 18th Century Hangzhou Artist Fang Xun and His Works

From the end of the 18th century to the mid-19th century,diaxing prefecture produced many artists and art historians described them as the diaxing school,acknowledging them to have had a major impact on the later Shanghai school.However,Fang Xun was not a prominent representative of this school but he followed the orthodox meticulous style of the 17th and 18th centuries and his work was an original foretaste of what would become the Shanghai style in the latter half of the 19th century.From this perspective,the five works of Fang Xun in the collection of the Palace Museum in Beijing are of great value.Through an analysis of the painter's life and the works in the collection of the Palace Museum,the author concludes that the lifestyle and tastes of the elite class of northern Zhejiang were intimately connected with what the painter set out to produce and that a study of Fang Xun provides a shortcut to understanding the literati artist circles of 18th century Suzhou and Hangzhou.The author also points out that we should not recognize Yangzhou as the sole source of paintings for the Qianlong court in the 18th century.