雅俗概念的辯證與實踐：明代吳中地區的繪畫與商業社會
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2017
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本論文旨在探討明代中晚期吳中地區城市化與商業社會中，藝術如何在雅俗概念的辨證與實踐中，扮演微妙的參與角色。論文討論的範圍，涵蓋明代中晚期吳中地區以沈周為核心的的畫派與畫家，以及當時書畫評論所涉及的作為雅俗區辨基礎的「利家」和「行家」身份之辨的論述。
尚雅的概念作為流行的繪畫主題，最早有宋朝時的「唐人十八學士圖」和宋人的「文會圖」為基礎，到明朝的「雅集圖」、「博古圖」等等，意在以雅集作為尚雅的象徵；好古與尚雅在圖畫的世界是被統合起來的，好古作為尚雅的符號比較容易被理解；山水畫形式的雅集圖其表達的手法比較隱晦，不容易被理解。
元代錢選形容士人繪畫，為帶有一點輕蔑意謂的「戾家」，在明代中晚期被「利家」和「隸家」取代；「利家」的評價高過於「行家」。在這組對照中沈周是利家、文徵明行、利兼具，唐寅無疑是職業畫家，卻因文士身分，為利家，仇英以行家身分卻努力朝利家作法前進。這些表面上二分的情形，在沈周的詩文創作上卻顯是另一種風景：吳派宗師沈周其實是雅俗兼具的。
吳派畫家自沈周以下，在明代商業社會，以雙重面向回應社會的需求，他們制訂雅俗的範疇，也不斷的在雅俗的畛域進行辨證與實踐。
關鍵詞：吳中地區、吳派、浙派、雅俗、行家、利家、沈周、文徵明
Abstract This research aims to explore how art played a subtle role in the context of the dialogue between idea of politeness and vulgarity during mid Ming to late Ming Dynasty in WuZhong Area. It concentrates on the period of Shen Zo and his followers. Also, it embraces art critics who contributed opinions about 'professionalism' and 'amateurism'. This dichotomy method was a base for comparison between politeness and valgarity. The idea of pursuing politeness as a theme in painting appeared early in Sung Dynasty of which the 'Eighteen Scholas as' and 'Scholars Gathering' were established as a base of a specific subject that might have inspired the theme of this kinds as gathering in a garden scene, In the cattagory of landscape painting, the sign to illuminate idea politeness is not that obvious as it was put in theme of gatherings. Chen Shuen, a painter of Yuan Dynasty, used the term 'amateur' specifically derived from earlier dynasties as a negative implication. However, this negatithe ve term was replaced by another word in Chinese '利家' to contrast '行家' , The former stands for literati or scholar and the later professional. In late Ming Dynasty, 利家 was esteemed highly than '行家'. The four masters of Wu school represented different rankings between '行家'and '利家'. Shen Zo was clearly reconized as '利家'by his contemporary critics. And, Wen Zenming was able to move from '行家' to '利家'. Tang Yin and Chio Ying were obvious professional artist but devoted to literature made them '利家' at the end. In a commercial society, painters of the Wu school after Shen Zo responded to needs of accomodation between politeness and vulgarity had found ways to negotiate a cultural zone that reexamines the border line of the territory they drawed. Keywords：Wu Zohn area、Wu school、Ze School、professionism、amateurism、Shen Zo、Wen Zenming
Abstract This research aims to explore how art played a subtle role in the context of the dialogue between idea of politeness and vulgarity during mid Ming to late Ming Dynasty in WuZhong Area. It concentrates on the period of Shen Zo and his followers. Also, it embraces art critics who contributed opinions about 'professionalism' and 'amateurism'. This dichotomy method was a base for comparison between politeness and valgarity. The idea of pursuing politeness as a theme in painting appeared early in Sung Dynasty of which the 'Eighteen Scholas as' and 'Scholars Gathering' were established as a base of a specific subject that might have inspired the theme of this kinds as gathering in a garden scene, In the cattagory of landscape painting, the sign to illuminate idea politeness is not that obvious as it was put in theme of gatherings. Chen Shuen, a painter of Yuan Dynasty, used the term 'amateur' specifically derived from earlier dynasties as a negative implication. However, this negatithe ve term was replaced by another word in Chinese '利家' to contrast '行家' , The former stands for literati or scholar and the later professional. In late Ming Dynasty, 利家 was esteemed highly than '行家'. The four masters of Wu school represented different rankings between '行家'and '利家'. Shen Zo was clearly reconized as '利家'by his contemporary critics. And, Wen Zenming was able to move from '行家' to '利家'. Tang Yin and Chio Ying were obvious professional artist but devoted to literature made them '利家' at the end. In a commercial society, painters of the Wu school after Shen Zo responded to needs of accomodation between politeness and vulgarity had found ways to negotiate a cultural zone that reexamines the border line of the territory they drawed. Keywords：Wu Zohn area、Wu school、Ze School、professionism、amateurism、Shen Zo、Wen Zenming
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吳中地區, 吳派, 浙派, 雅俗, 行家, 利家, 沈周, 文徵明, Wu Zohn area, Wu school, Ze school, professionism, amateurism, Shen Zo, Wen Zenming