摘要
晚明董其昌在政治理想屡屡折翅时,也像晚明其他的士大夫文人一样,将其经世抱负转变为对地方文化事业的发展。他和陈继儒等人一起构建文人画共同体,确立文人画规范新秩序,以实现松江地区文化的稳定发展,并通过共同体内的各种力量,包括士大夫文人话语权的力量,将文人画共同体和文人画规范推广到整个社会,而成为正统派主流绘画。
Dong Qichang in the late Ming Dynasty, like other literati in the same period, turned his ambition of administrating the society into developing local cultural undertakings when his political ideal failed for times. People like Chen Jiru and he together established the literati painting community and its new order, so as to achieve the stable development of the culture in Songjiang region, and through a variety of forces in the community, including the literati discourse power, they promoted literati painting and its rules to the whole society, and become the mainstream orthodox painting.
出处
《南京艺术学院学报（美术与设计）》
CSSCI
北大核心
2017年第6期49-54,共6页
Journal of Nanjing Arts Institute:Fine Arts & Design
关键词
董其昌
文人画共同体
文人画规范
文人话语权
Dong Qichang
literati painting community
literati painting norms
literati discourse power
