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序16世纪是中国艺术和造园的一个转变期,在此期间,明代早、中期生产性的农业景观逐渐被晚明美学化的消费景观所代替。1其间,昏暗的嘉靖朝(1522—1566)经历了园林文化的大发展。这体现在数量激增的以新近建造的园林为主题的文学和艺术作品上。文徵明(1470—1559)是这一时期重要的画家、书法家和学者。他的绘画事业始于1527年,那年他终止了一段短暂的从政生涯并回到自己的故乡苏州定居。2在其后的几十年中,他成为苏州艺术圈的领袖,并且发展了一种“避居山水”的绘画风格,这种画风在江南地区的文人阶层中被广为赏识。3这种认同符合当时思想风气的一种变化——新生代的
The 16th century was a period of transformation of Chinese art and gardens. During this period, the productive agricultural landscape in the early and mid Ming Dynasty was gradually replaced by the late Ming aesthetic landscape of consumption. In the meantime, the dim Jiajing Dynasty (1522-1566) experienced the great development of garden culture. This is reflected in the proliferation of literary and artistic works on newly built gardens. Wen Zhengming (1470-1559) was an important painter, calligrapher and scholar during this period. His painting career began in 1527, when he terminated a brief political career and returned to his hometown of Suzhou for settlement. 2 For decades to come, he became the leader of the Suzhou arts circle and developed a style of painting that “dwells on landscapes,” a style widely admired among literati in the Jiangnan area. 3 This identity is in line with a change in ideology at that time - the Cenozoic