本文選題：贊助 + 上海畫(huà)派　； 參考：《中國(guó)人民大學(xué)》2008年博士論文

【摘要】： 在清末民初近半個(gè)多世紀(jì)的時(shí)間里,全國(guó)各地的畫(huà)家紛紛涌入上海,僅在報(bào)刊上刊登潤(rùn)例賣(mài)畫(huà)者就有2000余人,至于從事與書(shū)畫(huà)有關(guān)活動(dòng)的畫(huà)家就更多了。他們?cè)⒕由虾?形成了近代中國(guó)最后一個(gè)名家輩出、陣容浩大的畫(huà)家群,即上海畫(huà)派。其影響波及國(guó)內(nèi)各地、甚至國(guó)外,超過(guò)了此前所有的地方畫(huà)派,具有重要的美術(shù)史意義。 上海商人在上海畫(huà)派的形成和發(fā)展過(guò)程中產(chǎn)生了至關(guān)重要的作用。上海經(jīng)濟(jì)的繁榮是商人崛起并發(fā)揮作用的基礎(chǔ)。開(kāi)埠初期的上海只是一個(gè)三等縣城,它能在短短數(shù)十年間發(fā)展成為全國(guó)、乃至遠(yuǎn)東的第一大都市,是因?yàn)樵谔教靽?guó)等數(shù)次大戰(zhàn)亂中吸納了十四個(gè)省、即近大半個(gè)中國(guó)的財(cái)富而飛速繁榮起來(lái)。在上海的商業(yè)化進(jìn)程中,上海商人迅速積累資本,并將勢(shì)力滲入其他城市,吸納全國(guó)的資金,成為全國(guó)商界極富有的一群人。這群巨商除了進(jìn)行商業(yè)投資和生活開(kāi)度后,還出資贊助文化藝術(shù)事業(yè)的發(fā)展。他們興辦學(xué)校,高薪聘請(qǐng)學(xué)者、知識(shí)分子和畫(huà)家擔(dān)任各項(xiàng)職務(wù);收集圖書(shū)、金石畫(huà)冊(cè)等,投資建設(shè)向公眾開(kāi)放的圖書(shū)館;他們還出版了大量質(zhì)量精美的文化藝術(shù)書(shū)籍,僅商務(wù)印書(shū)館出版的畫(huà)集就有百余種;在各項(xiàng)文化藝術(shù)交流活動(dòng)中,也能看到商人活躍的身影,有些商人僅書(shū)畫(huà)社團(tuán)就創(chuàng)辦了十幾個(gè)�？梢�(jiàn),推動(dòng)藝術(shù)事業(yè)發(fā)展的必須是經(jīng)濟(jì)實(shí)力雄厚的大商人,一般的中小商人雖然富裕,但也只是維持小康生活,辦不成大事。上海商人的地位也是比較高的,他們從“四民之末”一躍而為“四民之綱”,是社會(huì)各階層爭(zhēng)相結(jié)納的對(duì)象,這更有力于他們從事發(fā)展自己喜愛(ài)的文化藝術(shù)。 從上海商人的教育背景來(lái)看,他們中有的是從官僚和士紳轉(zhuǎn)變而來(lái),有的留過(guò)洋,整體文化素質(zhì)較高,能夠認(rèn)識(shí)到發(fā)展文化藝術(shù)事業(yè)之必要。同時(shí),上海商人主要來(lái)自江浙地區(qū),傳統(tǒng)文化底蘊(yùn)深厚,他們中的許多人精通書(shū)畫(huà)、詩(shī)文,有些人自己就是大畫(huà)家、大收藏家。即使是留洋回來(lái)的商人,也同樣熱衷中國(guó)傳統(tǒng)藝術(shù),喜愛(ài)與畫(huà)家相往來(lái)。 商人需要畫(huà)家,畫(huà)家更需要商人。在商人與畫(huà)家的交往過(guò)程中,商人不但在物質(zhì)方面贊助畫(huà)家,而且?guī)椭麄冊(cè)谏虾Ａ⒆恪５?只有那些大商人才能通過(guò)自己的社會(huì)地位、人脈和號(hào)召力為畫(huà)家的藝術(shù)事業(yè)打開(kāi)局面,并繁榮上海畫(huà)壇。許多有天賦的畫(huà)家正是在上海商人的贊助和提攜下,在上海、乃至全國(guó)聲名鵲起。吳昌碩是后海派的領(lǐng)袖,他原來(lái)一直在蘇州發(fā)展,后來(lái)在上海巨商王一亭的幫助下來(lái)到上海。王一亭介紹日本重要人物給他認(rèn)識(shí),宣傳吳昌碩,還幫他做生意。吳昌碩不但在上海富裕起來(lái),過(guò)上了安定的生活,而且后來(lái)在藝術(shù)上也取得高度成就,飲譽(yù)海外,王一亭對(duì)他的幫助起到了決定性的作用。其他的如盛宣懷、龐萊臣、虞洽卿、“小港李家”、陳小蝶等人都是贊助上海畫(huà)派的重要商人。 自上海開(kāi)埠,大批外國(guó)人來(lái)到上海從商,國(guó)別有四十之多。他們中的許多人逐漸被中國(guó)的傳統(tǒng)文化藝術(shù)和道德所深深吸引,生活方式與文化活動(dòng)也開(kāi)始中國(guó)化。他們模仿傳統(tǒng)文人的生活方式建造中國(guó)式的私家花園,創(chuàng)辦恢復(fù)中國(guó)古典文化的學(xué)校,購(gòu)藏書(shū)畫(huà)作品、贊助畫(huà)家,其熱衷程度有的甚至超過(guò)了中國(guó)人。其中,日本商人的藝術(shù)贊助活動(dòng)最具代表性。他們比歐美商人更熟悉中國(guó)文化藝術(shù),是中國(guó)書(shū)畫(huà)市場(chǎng)中最早、購(gòu)買(mǎi)力最強(qiáng)的贊助群體。 雖然上海商人是民間贊助主力,資本雄厚、社會(huì)地位高,但市民階層的書(shū)畫(huà)購(gòu)藏能力、對(duì)藝術(shù)的需求使之成為不可忽視的贊助力量。上海經(jīng)濟(jì)的發(fā)展,刺激了市民隊(duì)伍的擴(kuò)大,有錢(qián)有閑階層激增。從1910年到1927年的17年間,人口增加兩倍,約達(dá)246萬(wàn)人。一部分人從事商業(yè)活動(dòng),擴(kuò)大了商人隊(duì)伍,1914年,上海登記的主要各業(yè)商號(hào)就有近2000家,沒(méi)有登記的就更多了。這些巨商,資本家,各類(lèi)商行店鋪的店主、老板、買(mǎi)辦、中間商、批發(fā)商、零售商、經(jīng)紀(jì)人等,形成了一個(gè)人數(shù)相當(dāng)龐大的商人階層。還有一部分人是上海新崛起的知識(shí)階層,他們擔(dān)任教師、編輯、記者、醫(yī)生,或是自由職業(yè)者。在上海經(jīng)濟(jì)的穩(wěn)定發(fā)展中,他們的收入也是穩(wěn)步上漲,消費(fèi)能力逐漸增強(qiáng)。中國(guó)人在稍有溫飽的條件下,歷來(lái)重視文化藝術(shù)方面的修養(yǎng),這些有錢(qián)有閑階層附庸風(fēng)雅,需要書(shū)畫(huà),人數(shù)越多,需求量就越大,需要的畫(huà)就越多。同時(shí),為了滿(mǎn)足市民階層的物質(zhì)消費(fèi),店鋪館肆、茶館、酒樓、飯館、煙館、妓院、公園等各種休閑娛樂(lè)場(chǎng)所紛紛涌現(xiàn)。尤其是消費(fèi)性場(chǎng)所的數(shù)量更多,民國(guó)八年上海的有名茶館就有164家。這些消費(fèi)娛樂(lè)場(chǎng)所主要是為有錢(qián)有閑階層而開(kāi)設(shè),為了迎合他們的喜好,自然需要書(shū)法繪畫(huà)作品來(lái)裝點(diǎn)環(huán)境,營(yíng)造出文化氣氛,對(duì)畫(huà)的需求量更大,全國(guó)的畫(huà)家紛擁而至。即有耄耋之年的老者,也有才十六歲的少年;賣(mài)畫(huà)的即有職業(yè)畫(huà)家,也有文人畫(huà)家,連擅長(zhǎng)書(shū)畫(huà)的前清遺老遺少、政界名流也加入到賣(mài)畫(huà)隊(duì)伍中。畫(huà)家想要過(guò)得好,或發(fā)展藝術(shù)事業(yè),都希望到上海來(lái)。 市民階層的藝術(shù)需要表現(xiàn)在三個(gè)方面:第一個(gè)方面是商業(yè)美術(shù):商家為了招攬顧客,利用能被市民階層接受的藝術(shù)的形式來(lái)進(jìn)行商業(yè)競(jìng)爭(zhēng)。上海是商業(yè)城市,中外廠商云集,至于商品種類(lèi)更是繁多,需要很多畫(huà)家來(lái)繪制廣告畫(huà)、宣傳畫(huà)、布景畫(huà)、設(shè)計(jì)圖案。尤其是月份牌畫(huà),市民階層的需求量大,酬勞高,畫(huà)家一個(gè)月的收入甚至可以買(mǎi)一輛小汽車(chē)。第二個(gè)方面是大眾文化:市民需要文化消費(fèi),但大部分人的文化水平不高,以圖片為主的刊物盛行一時(shí)。當(dāng)時(shí)照相技術(shù)還未在上海普及,報(bào)刊雜志社需要聘請(qǐng)畫(huà)家手繪圖稿。上海是全國(guó)的出版中心,出版的圖書(shū)占全國(guó)的70%,需要多少畫(huà)家去創(chuàng)作。第三個(gè)方面是藝術(shù)院校的成立:社會(huì)對(duì)畫(huà)家的需求量大,藝術(shù)院校應(yīng)運(yùn)而生。周湘是近代中國(guó)最早設(shè)立私立美術(shù)學(xué)校之人,從1909年至1922年在上海至少成立了7所美術(shù)學(xué)校。繼周湘之后,上海美術(shù)專(zhuān)科學(xué)校成立,其他較突出的私立美術(shù)院校還有近十所。藝術(shù)院校通過(guò)培養(yǎng)學(xué)生,不但擴(kuò)大書(shū)畫(huà)家隊(duì)伍,而且當(dāng)時(shí)上海的知名書(shū)畫(huà)家很多都在藝術(shù)院校任職,同時(shí)也有自己開(kāi)畫(huà)室的。近代上海巨匠、名家如黃賓虹、徐悲鴻、潘天壽、林風(fēng)眠等等,無(wú)不崛起于上海。 經(jīng)濟(jì)的發(fā)展,民間贊助群體的壯大在促進(jìn)藝術(shù)發(fā)展的同時(shí),也對(duì)其產(chǎn)生了一定限制作用。表現(xiàn)在兩個(gè)方面,首先是影響了畫(huà)家的思想意識(shí)。在上海畫(huà)家眼中,書(shū)畫(huà)就是商品,他們利用各種傳媒手段刊登賣(mài)畫(huà)廣告,將書(shū)畫(huà)作為商品公開(kāi)出售。為了爭(zhēng)取自己的顧客群,畫(huà)家們?cè)谛麄魃弦嗍歉鞒銎嫠纪其N(xiāo)自己。 上海經(jīng)濟(jì)發(fā)達(dá),商機(jī)多,有些畫(huà)家干脆“下�！睆纳�,自己經(jīng)營(yíng)茶館、開(kāi)辦文化藝術(shù)公司、辦報(bào)紙刊物。這在過(guò)去,不但賣(mài)畫(huà)謀生是為人所恥的行為,更不要說(shuō)公開(kāi)的從事商業(yè)活動(dòng)。皆上海崇商趨利風(fēng)氣使然。第二、他們的藝術(shù)創(chuàng)作,從書(shū)畫(huà)的內(nèi)容、形式、技法,乃至畫(huà)風(fēng)也都受到了市民階層意識(shí)的影響。比如“吳昌碩”為代表的金石派,作畫(huà)一反傳統(tǒng)的凈、靜、幽淡之尚,表現(xiàn)出豪邁飛動(dòng),生機(jī)勃勃的氣息,但靜氣不足,濁氣有余。這正是上海商人和市民的精神寫(xiě)照。市民階層的傳統(tǒng)文化根基以及畫(huà)家思想意識(shí)的改變是上海畫(huà)派繁榮的又一關(guān)鍵。 20世紀(jì)30年代后期,因戰(zhàn)爭(zhēng)等多種外在因素,上海的經(jīng)濟(jì)進(jìn)入緩慢發(fā)展階段,畫(huà)家在上海的生存已經(jīng)不像以前那樣容易了。盡管租界的商業(yè)活動(dòng)仍在發(fā)展,但1941年天平洋戰(zhàn)爭(zhēng)的爆發(fā),上海租界的“孤島”時(shí)代也宣告結(jié)束,很多畫(huà)家離開(kāi)了上海,后海派漸趨衰落。雖然之后上海這個(gè)大都市依然存在,畫(huà)壇依然存在,但已無(wú)復(fù)清末民初之盛況、在全國(guó)處于絕對(duì)顯赫之地位�？梢�(jiàn),經(jīng)濟(jì)繁榮是畫(huà)派興盛的基礎(chǔ),如果沒(méi)有上海商人的鼎力贊助,市民階層對(duì)書(shū)畫(huà)藝術(shù)的龐大需求,上海畫(huà)派不會(huì)在清末民初時(shí)期逐步走向全盛。
[Abstract]:During the early more than half century of the late Qing Dynasty and early Republic of China, painters all over the country poured into Shanghai, more than 2000 people had been published in newspapers and magazines, and more artists engaged in calligraphy and painting activities. They lived in Shanghai, forming a large group of artists in modern China, a large group of artists, the Shanghai painting school. Its influence spread to all parts of the country and even abroad. It surpasses all previous local painting schools and has important artistic history significance.
The Shanghai merchants have played a vital role in the formation and development of the Shanghai School of painting. The prosperity of Shanghai's economy is the basis for the rise and play of the merchants. Shanghai is only a three County town in the early days of the opening of the port. It can be developed into the country and the first metropolis in the Far East for a few decades, because it is in the Taiping Heavenly Kingdom and so on. In the Second World War, fourteen provinces were absorbed, that is, the wealth of nearly half of China flourished. In the process of commercialization of Shanghai, Shanghai merchants quickly accumulated capital, infiltrated power into other cities, absorbed capital from the country, and became a very rich group of people in the business world. They also contribute to the development of cultural and artistic undertakings. They have established schools, high paid scholars, intellectuals and painters to hold various posts; they collect books, gold stone books and so on, and invest in the construction of libraries open to the public; they have also published a large number of fine arts and cultural books, only a hundred kinds of paintings published by the commercial press; In various cultural and artistic exchanges, we can also see the active figure of the merchants. Some businessmen have set up more than ten people only in the calligraphy and painting community. It is obvious that the development of the arts must be a big businessman with strong economic strength. Although the ordinary small and medium-sized businessmen are rich, they are also not a big event. The status of the Shanghai merchants is also the same. They are relatively high. They leap from "the end of the four people" to the "outline of the four people", which are the objects of the social strata, which are more effective in developing their favorite culture and art.
From the educational background of Shanghai merchants, some of them have changed from the bureaucrats and the gentry, some have left the ocean, the overall cultural quality is high, and the necessity of developing the cultural and artistic cause can be realized. At the same time, the merchants of Shanghai are mainly from the Jiangsu and Zhejiang provinces, and the traditional culture is deep, many of them are proficient in calligraphy, painting, poetry and some people. He is a great painter, a great collector. Even the businessmen who came back from the ocean are equally keen on Chinese traditional art and love to interact with painters.
Businessmen need painters, painters need businessmen more. In the process of communication between merchants and painters, businessmen not only sponsor painters in material terms, but also help them to stand in Shanghai. But only those big businessmen can open the situation for the artist's art career through their social status, human connections and appeal, and flourish the Shanghai painting world. Gifted painters, under the sponsorship and carrying of Shanghai merchants, are famous in Shanghai, and even in the country. Wu Changshuo is the leader of the post sea school. He has been developing in Suzhou, and later in Shanghai, with the help of the great merchant king of Shanghai. Wang Yiting introduced the Japanese important figures to him, publicize Wu Changshuo, and help him to do business. Chang Shuo not only became rich in Shanghai, lived a stable life, but also achieved great achievement in art, and he was famous overseas. Wang Yiting played a decisive role in his help. Other such as Sheng Xuanhuai, Pang Laichen, Yu SII Qing, "Xiao Gang Li family", Chen Xiao butterfly and others are important businessmen to sponsor the Shanghai painting school.
Since the opening of Shanghai, a large number of foreigners come to business in Shanghai and have more than forty countries. Many of them are gradually attracted by Chinese traditional culture, art and morality, and their ways of life and cultural activities have also begun to be Chinese. They imitate the traditional literati's way of life to build Chinese private gardens and establish a classical Chinese language. The school, the collection of calligraphy and painting works, the sponsorship of the painters, whose enthusiasm even exceeds the Chinese. Among them, the Japanese businessmen are most representative of the art sponsorship activities. They are more familiar with the Chinese culture and art than the European and American businessmen. They are the earliest and most powerful sponsoring groups in the Chinese calligraphy and painting market.
Although the Shanghai merchants are the main force of the folk sponsorship, the capital is strong and the social status is high, the ability to purchase and purchase books and paintings in the public class and the demand for art make it a non negligible sponsorship force. The economic development of Shanghai has stimulated the expansion of the public, the rich and the leisure stratum has surged. From 1910 to 1927, the population increased by two times, about 17 times. 2 million 460 thousand people. Some people engaged in commercial activities and expanded the merchant team. In 1914, there were nearly 2000 major businesses registered in Shanghai, which did not register more. These giant merchants, capitalists, shopkeepers of various commercial shops, owners, comprador, middlemen, wholesalers, dealers, brokers and so on, formed a large number of businessmen. Some of them are the newly rising intellectuals in Shanghai. They serve as teachers, editors, journalists, doctors, or freelancers. In the stable development of Shanghai's economy, their income is steadily rising and their consumption ability is gradually increasing. In order to meet the material consumption of the public, the more many people need a lot of painting and calligraphy. At the same time, in order to meet the material consumption of the citizens, the shop hall, the teahouse, the restaurant, the restaurant, the tobacco house, the brothel, the park and other recreational places have sprung up in a profusion, especially in the eight years of the Republic of China in the Republic of China in Shanghai. There are 164 famous teahouses. These places of entertainment and entertainment are mainly opened for the money and the leisure class. In order to cater for their preferences, they naturally need calligraphy and painting to decorate the environment, create a cultural atmosphere, and have a greater demand for the painting. There are professional painters and literati painters, who are good at painting and painting, and the celebrities are joined in the painting team. The painter wants to live well, or the development of art, all hope to come to Shanghai.
The artistic needs of the townspeople are shown in three aspects: the first is commercial art: in order to attract customers and make commercial competition in the form of art that can be accepted by the citizen class, Shanghai is a commercial city, the Chinese and foreign manufacturers gather, and the variety of commodities is more complex, and many painters need to draw advertising paintings, publicity paintings, and cloth. Landscape painting, design pattern. Especially the calendar painting, the citizen class has a large demand, high remuneration, a month's income and even a car. Second aspects are popular culture: the citizens need cultural consumption, but most people are not high in cultural level, and the publication of pictures is popular for a while. The photography technology was not in Shanghai at that time. Popular, newspapers and magazines need to hire painters hand-painted drawings. Shanghai is the national publishing center, publishing books account for 70% of the country, how many artists need to be created. The third aspects are the establishment of art colleges and Universities: the society has great demand for artists and the art colleges and universities came into being. Zhou Xiang is the first person to set up private art schools in modern China, At least 7 art schools were established in Shanghai from 1909 to 1922. After Zhou Xiang, Shanghai art academy was established, and there were nearly ten other prominent private art colleges and universities. By cultivating students, art colleges and universities not only expanded the ranks of calligraphers, but also many famous calligraphers and calligraphers in Shanghai were in the arts colleges and universities at the same time. He opened his own studio. The great masters of modern Shanghai, such as Huang Binhong, Xu Beihong, Pan Tianshou, Lin Fengmian and so on, all rise in Shanghai.
The development of the economy, the expansion of the folk sponsorship group in promoting the development of art, but also has a certain limit on it. In two aspects, the first is the influence of the painter's ideological consciousness. In the eyes of Shanghai painters, calligraphy and painting are commodities, they use various media means to sell painting advertisements and sell books and paintings as goods publicly. In order to win their customers, painters are also selling their own ideas in propaganda.
Shanghai is a developed economy and a lot of business opportunities. Some painters simply "go to the sea" business, run their own teahouses, set up cultural and art companies, and run newspaper publications. In the past, not only did the sale of paintings be a disgrace to people, but also not to say publicly engaged in commercial activities. All of which were Shanghai merchants and business activities. Second, their artistic creation, from calligraphy and painting The contents, forms, techniques, and even the style of painting have also been influenced by the consciousness of the citizens. For example, the golden stone school represented by "Wu Changshuo", painting an anti traditional, quiet, and faint scent, showing a heroic flying, vibrant breath, but a lack of statics and a surplus of cloud gas. This is the spiritual portrayal of the businessmen and citizens of Shanghai. The cultural foundation and the change of painters' ideology are another key to the prosperity of Shanghai painting school.
In the late 1930s, because of various external factors such as war, the economy of Shanghai entered the stage of slow development, the survival of painters in Shanghai was not as easy as before. Although the commercial activities of the concession were still developing, the outbreak of the peace war in 1941, the "island" era of the Shanghai concession was also ended, and many painters left. Shanghai, the Houhai school has gradually declined. Although the city of Shanghai still exists and still exists, the painting world still exists, but there is no great situation in the late Qing Dynasty and the beginning of the Republic of China. The prosperity of the economy is the foundation of the flourishing of the school of painting. If there is no great support from the businessmen of Shanghai, the huge demand for the art of calligraphy and painting by the citizens of the citizens, Shanghai. The painting school will not go to full bloom in the late Qing Dynasty and the early Republic of China.
【學(xué)位授予單位】：中國(guó)人民大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2008
【分類(lèi)號(hào)】：J209.2;K252

【引證文獻(xiàn)】

相關(guān)博士學(xué)位論文 前1條

1 皇甫秋實(shí);中國(guó)近代卷煙市場(chǎng)研究（1927-1937）[D];復(fù)旦大學(xué);2012年

相關(guān)碩士學(xué)位論文 前1條

1 姜小麗;晚清海上畫(huà)派書(shū)畫(huà)市場(chǎng)研究[D];山東大學(xué);2012年

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本文編號(hào)：1943491