傳統(tǒng)人物畫與任伯年人物畫的比較研究



摘要:
任伯年出身平民，得技于民間畫工，后在滬上弩畫為生，他的社會身份、畫之審美趣
味以及文學修養(yǎng)的缺乏，使其不入“傳統(tǒng)文人畫”之列。但他又自覺不自覺地在交友、繪畫
題材、風格和技法資源等方面，與傳統(tǒng)文人畫發(fā)生著關(guān)聯(lián)。在任伯年身上，我們看到傳統(tǒng)文
人畫步入近代社會以后所面臨的特殊境遇，它的價值、形態(tài)和精神追求都不可避免地瓦解
了。但是，作為文人畫的性質(zhì)、趣味等諸多因素，卻在近現(xiàn)代社會獲得了重建和轉(zhuǎn)換。
關(guān)鍵詞:
任伯年;傳統(tǒng)文人畫;瓦解;重建





Ren Bonian and Traditional Literati Painting
AbStl'aCt: (:oming from an ordinary fmnily and learning painting from folk painters, Ren Bonian earned aliving on his works in Shanghai. His works hardly belong to“traditional literati painting" due to hissocial position, painting aesthetics and lack of kn+vlec短e in literature. H+vever, he is related totraditional literati painting in terns of friends he made, subjects, style and technique of painting. FromRen Boni斌s paintings, we can c}cxne up with the special circLUnstances traditional literati paintingencountered in modem society. That is to say, the value, fWm and spiritual pursuit of traditional literatipainting unavoidably collapse while such elements，its nature and aesthetics are re} constructed andtransfWmed.
Key words: Ren Bonian; traditional literati painting; collapse; re^ construction